biography and autobiography definition

• Key Differences

Know the Differences & Comparisons

Difference between Biography and Autobiography

Both of these two presents the view of, what happened in the past where the author lived. These are non-fiction books, written in chronological order, tells a story about the person who made a significant contribution in a specific field. Many think that the two writing forms are one and the same thing, but there are noticeable difference between the two, that are presented in the given article.

Content: Biography Vs Autobiography

Comparison chart, definition of biography.

A biography also referred as ‘bio’ is a detailed account of a person’s life written or produced by another person. It gives an elaborate information regarding the birthplace, educational background, work, relationships and demise of the person concerned. It presents the subject’s intimate details about life, focusing on the highs and lows and analysing their whole personality.

A biography is usually in the written form but can also be made in other forms of a music composition or literature to film interpretation.

It is the recreation of the life of an individual composed of words by another person. The author collects every single detail about the subject and presents those facts in the biography, which are relevant and interesting, to engross the readers in the story.

Definition of Autobiography

An autobiography is the life sketch of a person written by that person himself or herself. The word auto means ‘self.’ Therefore, autobiography contains all the elements of a biography but composed or narrated by the author himself. He/She may write on their own or may hire ghostwriters to write for them.

An autobiography presents the narrator’s character sketch, the place where he is born and brought up, his education, work, life experiences, challenges, and achievements. This may include events and stories of his childhood, teenage, and adulthood.

Key Differences Between Biography and Autobiography

The difference between biography and autobiography are discussed in detail in the following points:

• Biography is a detailed account of a person’s life written by someone else, while an autobiography is written by the subject themselves.
• Biography can be written with (authorised) or without permission (unauthorised) from the person/heir’s concerned. Therefore, there are chances of factual mistakes in the information. On the other hand, autobiographies are self-written and therefore doesn’t require any authorization.
• Biographies contain information that is collected over a period of time from different sources and thus, it projects a different outlook to the readers. On the other hand, autobiographies are written by the subject themselves, therefore, the writer presents the facts and his thinking in his own way, thus providing an overall narrow and biased perspective to the readers.
• In an Autobiography, the author uses the first narrative like I, me, we, he, she, etc. This, in turn, makes an intimate connection between the author and the reader since the reader experience various aspects as if he/she is in that time period. As opposed a biography is from a third person’s view and is much less intimate.
• The purpose of writing a biography is to introduce and inform the readers about the person and his life whereas an autobiography is written in order to express, the life experiences and achievements of the narrator.

Video: Biography Vs Autobiography

There are several autobiographies which are worth mentioning like ‘The Story of My Life’ by Helen Keller, ‘An Autobiography’ by Jawaharlal Nehru, ‘The Diary of a Young Girl’ by Anne Frank, ‘Memoirs of the Second World War’ by Winston Churchill, ‘Wings of Fire’ by A. P. J. Abdul Kalam and much more.

Examples of some famous biographies are- Tolstoy: A Russian Life by Rosamund Bartlett, His Excellency: George Washington by Joseph J. Ellis, Einstein: The Life and Times by Ronald William Clark, Biography of Walt Disney: The Inspirational Life Story of Walt Disney – The Man Behind “Disneyland” by Steve Walters, Princess Diana- A Biography Of The Princess Of Wales by Drew L. Crichton.

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Biography vs Autobiography: Similarities and Differences

A biography is an account of someone’s life story that is written by an author who is not the subject of the nook. An autobiography, on the other hand, involves an individual narrating their own life experiences.

The differences between biographies and autobiographies relate most prominently to the authorhship:

• Autobiography: When you read an autobiography, you’re getting the author’s own interpretation of their life.
• Biography: When you read a biography, you experience the subject’s life through someone else’s lens (Schiffrin & Brockmeier, 2012).

Biography vs Autobiography

1. biography.

A biography is a detailed account of a person’s life, scripted by an author who is not the person who is featured in the text itself.

This type of life story focuses both on factual events in the person’s life, such as birth, education, work, and death, but often also delves into personal aspects like experiences, relationships, and significant achievements.

It may also weave-in cultural and contextual factors that help illuminate the person’s motivations and core values .

Origins of Biographies

The concept of biography as a literary genre dates back to antiquity. Such works were primarily used to capture the lives of dignified individuals, mainly rulers and war heroes.

Suetonius’s Lives of the Caesars and Plutarch’s Parallel Lives are landmark examples from this ancient period (Sweet, 2010).

The popularity of biographical works only grew in the ensuing centuries, and they became a prominent part of many cultures’ literary traditions. 

Into the 18th century and during the Enlightenment, biographies began to present a more balanced portrayal of the subject. They would present both their strengths and flaws, providing a holistic perspective on the subject.

Dr. Samuel Johnson’s compilation of English poets biographies, Lives of the Most Eminent English Poets (1779-1781) ushered in a new era of biography writing by focusing on examining human nature (Ditchfield, 2018).

In the modern era, the genre has evolved and broadened, encompassing a diverse range of figures from all walks of life – there’s a biography in every niche imaginable, with each offering readers an in-depth exploration of their lives, their struggles, and their triumphs.

This demonstrates the enduring appeal of biographies and their value in providing snapshots of history through individual lenses.

Key Characteristics of Biographies

Examples of biographies.

Title: The Lives of the Most Eminent English Poets Author: Dr. Samuel Johnson   Description: Dr. Johnson’s work profiles the lives of 52 poets from the 17th and 18th centuries, including John Milton and Alexander Pope. He critiques not just the works, but also explores their personal lives and the sociopolitical contexts of their times (Johnson, 1781). Johnson’s study is invaluable for its integrated historic and biographic approach.

Title: The Life of Samuel Johnson Author: James Boswell   Description: This work by Boswell explores, in great depth, the life of his friend and mentor, Dr. Samuel Johnson. The biography offers a compelling portrayal of Dr. Johnson’s life, character, eccentricities, and intellectual prowess (Boswell, 1791). Boswell’s vivid account creates a near-physical presence of Johnson to the readers, making it one of the greatest biographies in English literature.

Title: The Rise of Theodore Roosevelt Author: Edmund Morris   Description: In this Pulitzer Prize-winning biography, Morris chronicles the early life of Theodore Roosevelt until his ascension to the U.S presidency. The work brilliantly captures Roosevelt’s extraordinary career and his transformation from a frail asthmatic boy into a robust and vigorous leader (Morris, 1979). Morris accurately represents Roosevelt’s indomitable spirit, making it an engaging and educational read.

Title: Steve Jobs Author: Walter Isaacson Description: This comprehensive biography provides a deep-dive into the life and career of Steve Jobs, the co-founder of Apple. Isaacson had unparalleled access to Jobs and those closest to him, thus presenting an intimate and detailed account. He explores Jobs’ professional endeavors as well as his personal life, revealing his ambition, intensity, and visionary mind that revolutionized several high-tech industries (Isaacson, 2011).

Title: Alexander Hamilton Author: Ron Chernow Description: Ron Chernow provides a sweeping narrative of one of America’s most compelling founding fathers, Alexander Hamilton. Chernow combines extensive research with a flair for storytelling, charting Hamilton’s evolution from an orphan into a political genius. The book sheds light on Hamilton’s crucial role in the formation of the United States’ financial system and his political ideologies (Chernow, 2004).

2. Autobiography

An autobiography is a self-written record of someone’s own life. It is a personal narrative in which the author writes about their life from their own perspective.

Autobiographies are usually centered around the author’s personal experiences, including key milestones, challenges, and achievements (Eakin, 2015).

They’re also often a defense of the person’s perspective (especially in political autobiographies) or insight into their thought processes, which can make them very intimate.

Origins of Autobiographies

The term ‘autobiography’ was first used deprecatingly by William Taylor in 1797 in the English periodical The Monthly Review, when he suggested the word as a hybrid but condemned it as ‘pedantic’.

Pioneering examples of the genre form include Thomas De Quincey’s Confessions of an English Opium-Eater (1821) and the memoirs by veterans of the Napoleonic Wars (Lejeune, 2016).

However, apart from these early instances, autobiographies have been composed by a wide array of individuals from history. 

In the early 20th century, the genre witnessed major transformations, and autobiographies started to cover a broader spectrum of experiences, including trauma, struggles, and successes.

‘Black Boy’ by Richard Wright, for instance, shares the author’s experiences with racism and his journey towards developing a literary career (Wright, 1945).

This was followed by a host of autobiographies by public figures sharing their diverse stories, such as Ernest Hemingway’s ‘A Moveable Feast’, depicting his days as a struggling young writer in Paris (Hemingway, 1964). 

Autobiography as a genre has continued to evolve over the years, and a variety of forms have emerged to communicate individual experiences globally.

As history has progressed, we see more and more people with diverse perspectives sharing their stories, broadening our understanding of the human experience (Smith & Watson, 2010).

Key Characteristics of Autobiographies 

Examples of autobiographies.

Title: Long Walk to Freedom Author: Nelson Mandela   Description: “Long Walk to Freedom” provides an in-depth exploration of ex-President Nelson Mandela, his political journey, and his stand against apartheid in South Africa. The biography offers a unique perspective into Mandela’s noble character, his indomitable spirit, and his commitment to justice when faced with grave adversities (Mandela, 1995). Mandela serves as one of our times’ great moral and political leaders through this biography.

Title: The Diary of a Young Girl Author: Anne Frank  Description: This biography provides a startling firsthand account of a young Jewish girl named Anne Frank, who with her family, hid from the Nazis in Amsterdam during World War II. Her diary entries offer profound insights into the fear, hope, and resilience she demonstrated during her two years in hiding (Frank, 1947). Frank’s posthumous biographical record serves as a reminder of the injustices of the past and as a symbol of endurance in the face of oppression.

Title: I Know Why the Caged Bird Sings Author: Maya Angelou  Description: This moving autobiography charts Maya Angelou’s early life, from experiencing racial discrimination in the South to becoming the first black streetcar conductor in San Francisco. Angelou portrays her journey of self-discovery and overcoming traumatic experiences, including racial prejudice and personal trauma, with remarkable strength and grace. Her story is one of resilience, and it speaks powerfully about finding one’s voice (Angelou, 1969). 

Title: Night Author: Elie Wiesel  Description: “Night” is Wiesel’s personal account of his experiences in Nazi concentration camps during World War II with his father. This heartbreaking narrative describes not only physical hardship and cruel atrocities but also examines the loss of innocence and the struggle to maintain faith in humanity. It stands as a testament to human resilience in the face of unimaginable horror (Wiesel, 1960).

Title: Dreams from My Father Author: Barack Obama Description: In this engaging memoir, the 44th President of the United States narrates the story of his diverse background and early life. The narrative extends from his birth in Hawaii to his first visit to Kenya, from dealing with racial identity to self-discovery. “Dreams from My Father” not only provides personal insights about Obama’s life and values but also discusses issues of race, identity, and purpose (Obama, 1995).

Similarities and Differences Between Biographies and Autobiographies

While both biographies and autobiographies are excellent sources of information and entertainment about significant figures in history (or the present!), they serve different purposes. By knowing the different purposes of each, we can develop stronger media literacy , understanding what the intention of the author is, and how we should approach the text.

Angelou, M. (1969). I Know Why the Caged Bird Sings . Random House.

Baker, J., Davis, E., & Thompson, K. (2013). Reflection and Emotions in Autobiography . Chicago University Press.

Boswell, J. (1791). The Life of Samuel Johnson . J.R. Taylor.

Brown, J., & Brown, S. (2018). Thematic Focus in Autobiography Writing . Princeton University Press.

Chernow, R. (2004). Alexander Hamilton . Penguin Books.

Ditchfield, S. (2018). Extracting the Domestic from the Didactic: Transmission and Translation of the Sacred in The Lives of the Ancient Fathers (1672–1675). Church History and Religious Culture, 98 (1), 28-50.

Eakin, P. J. (2015). How Our Lives Become Stories: Making Selves . Cornell University Press.

Frank, A. (1947). The Diary of a Young Girl . Contact Publishing.

Hemingway, E. (1964). A Moveable Feast . Charles Scribner’s Sons.

Isaacson, W. (2011). Steve Jobs . Simon & Schuster.

Johnson, M., & Johnson, S. (2017). A Comprehensive Guide to Biography Writing . New York: Penguin.

Johnson, S. (1781). The Lives of the Most Eminent English Poets . Printed by C. Bathurst, J. Buckland [and 28 others in London].

Jones, B. (2015). The Art of Writing Biographies: An Objective Approach . Oxford University Press.

Lejeune, P. (2016). On Autobiography . University of Minnesota Press.

Mandela, N. (1995). Long Walk to Freedom: The Autobiography of Nelson Mandela . Macdonald Purnell.

Miller, R. (2014). The Self as the Subject: Autobiography Writing . Stanford University Press.

Morris, E. (1979). The Rise of Theodore Roosevelt . Coward, McCann & Geoghegan.

Obama, B. (1995). Dreams from My Father: A Story of Race and Inheritance . Crown Publishing Group.

Schiffrin D., & Brockmeier J. (2012). Narrative Identity and Autobiographical Recall. Royal Institute of Philosophy Supplements, 70 , 113-144.

Smith, J., Davis, M., & Thompson, S. (2012). Third Party Narratives: An Exploration of Biography Writing . Cambridge University Press.

Smith, S., & Watson, J. (2010). Reading Autobiography: A Guide for Interpreting Life Narratives . University of Minnesota Press.

Sweet, R. (2010). Biographical Dictionaries and Historiography. Bibliothèque d’Humanisme et Renaissance, 72 (2), 355–368.

Wiesel, E. (1960). Night . Hill & Wang.

Williams, T. (2019). The Importance of Facts in Biographies . HarperCollins.

Wright, R. (1945). Black Boy: A Record of Childhood and Youth . Harper & Brothers.

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autobiography

Definition of autobiography

Examples of autobiography in a sentence.

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'autobiography.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

auto- + biography , perhaps after German Autobiographie

1797, in the meaning defined above

Phrases Containing autobiography

• semi - autobiography

Dictionary Entries Near autobiography

autobiographist

Cite this Entry

“Autobiography.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/autobiography. Accessed 21 May. 2024.

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• Literary Terms
• Autobiography
• Definition & Examples
• When & How to Write Autobiography

I. What is Autobiography?

An autobiography is a self-written life story.

It is different from a  biography , which is the life story of a person written by someone else. Some people may have their life story written by another person because they don’t believe they can write well, but they are still considered an author because they are providing the information. Reading autobiographies may be more interesting than biographies because you are reading the thoughts of the person instead of someone else’s interpretation.

II. Examples of Autobiography

One of the United States’ forefathers wrote prolifically (that means a lot!) about news, life, and common sense. His readings, quotes, and advice are still used today, and his face is on the $100 bill. Benjamin Franklin’s good advice is still used through his sayings, such as “We are all born ignorant, but one must work hard to remain stupid.” He’s also the one who penned the saying that’s seen all over many schools: “Tell me and I forget. Teach me and I remember. Involve me and I learn.” His autobiography is full of his adventures , philosophy about life, and his wisdom. His autobiography shows us how much he valued education through his anecdotes (stories) of his constant attempts to learn and improve himself. He also covers his many ideas on his inventions and his thoughts as he worked with others in helping the United States become free from England.

III. Types of Autobiography

There are many types of autobiographies. Authors must decide what purpose they have for writing about their lives, and then they can choose the format that would best tell their story. Most of these types all share common goals: helping themselves face an issue by writing it down, helping others overcome similar events, or simply telling their story.

a. Full autobiography (traditional):

This would be the complete life story, starting from birth through childhood, young adulthood, and up to the present time at which the book is being written. Authors might choose this if their whole lives were very different from others and could be considered interesting.

There are many types of memoirs – place, time, philosophic (their theory on life), occupational, etc. A memoir is a snapshot of a person’s life. It focuses on one specific part that stands out as a learning experience or worth sharing.

c. Psychological illness

People who have suffered mental illness of any kind find it therapeutic to write down their thoughts. Therapists are specialists who listen to people’s problems and help them feel better, but many people find writing down their story is also helpful.

d. Confession

Just as people share a psychological illness, people who have done something very wrong may find it helps to write down and share their story. Sharing the story may make one feel he or she is making amends (making things right), or perhaps hopes that others will learn and avoid the same mistake.

e. Spiritual

Spiritual and religious experiences are very personal . However, many people feel that it’s their duty and honor to share these stories. They may hope to pull others into their beliefs or simply improve others’ lives.

f. Overcoming adversity

Unfortunately, many people do not have happy, shining lives. Terrible events such as robberies, assaults, kidnappings, murders, horrific accidents, and life-threatening illnesses are common in some lives. Sharing the story can inspire others while also helping the person express deep emotions to heal.

IV. The Importance of Autobiography

Autobiographies are an important part of history. Being able to read the person’s own ideas and life stories is getting the first-person story versus the third-person (he-said/she-said) version. In journalism, reporters go to the source to get an accurate account of an event. The same is true when it comes to life stories. Reading the story from a second or third source will not be as reliable. The writer may be incorrectly explaining and describing the person’s life events.

Autobiographies are also important because they allow other people in similar circumstances realize that they are not alone. They can be inspiring for those who are facing problems in their lives. For the author, writing the autobiography allows them to heal as they express their feelings and opinions. Autobiographies are also an important part of history.

V. Examples of Autobiography in Literature

A popular autobiography that has lasted almost 100 years is that of Helen Keller. Her life story has been made into numerous movies and plays. Her teacher, Anne Sullivan, has also had her life story written and televised multiple times. Students today still read and learn about this young girl who went blind and deaf at 19 months of age, causing her to also lose her ability to learn to speak. Sullivan’s entrance into Helen’s life when the girl was seven was the turning point. She learned braille and soon became an activist for helping blind and deaf people across the nation. She died in 1968, but her autobiography is still helping others.

Even in the days before my teacher came, I used to feel along the square stiff boxwood hedges, and, guided by the sense of smell, would find the first violets and lilies. There, too, after a fit of temper, I went to find comfort and to hide my hot face in the cool leaves and grass. What joy it was to lose myself in that garden of flowers, to wander happily from spot to spot, until, coming suddenly upon a beautiful vine, I recognized it by its leaves and blossoms, and knew it was the vine which covered the tumble-down summer-house at the farther end of the garden! (Keller).

An autobiography that many middle and high school students read every year is “Night” by Elie Wiesel. His story is also a memoir, covering his teen years as he and his family went from the comfort of their own home to being forced into a Jewish ghetto with other families, before ending up in a Nazi prison camp. His book is not that long, but the details and description he uses brings to life the horrors of Hitler’s reign of terror in Germany during World War II. Students also read “The Diary of Anne Frank,” another type of autobiography that shows a young Jewish girl’s daily life while hiding from the Nazis to her eventual capture and death in a German camp. Both books are meant to remind us to not be indifferent to the world’s suffering and to not allow hate to take over.

“The people were saying, “The Red Army is advancing with giant strides…Hitler will not be able to harm us, even if he wants to…” Yes, we even doubted his resolve to exterminate us. Annihilate an entire people? Wipe out a population dispersed throughout so many nations? So many millions of people! By what means? In the middle of the twentieth century! And thus my elders concerned themselves with all manner of things—strategy, diplomacy, politics, and Zionism—but not with their own fate. Even Moishe the Beadle had fallen silent. He was weary of talking. He would drift through synagogue or through the streets, hunched over, eyes cast down, avoiding people’s gaze. In those days it was still possible to buy emigration certificates to Palestine. I had asked my father to sell everything, to liquidate everything, and to leave” (Wiesel 8).  

VI. Examples of Autobiography in Pop Culture

One example of an autobiography that was a hit in the movie theaters is “American Sniper,” the story of Navy SEAL Chris Kyle. According to an article in the Dallas, Texas, magazine D, Kyle donated all the proceeds from the film to veterans and their families. He had a story to tell, and he used it to help others. His story is a memoir, focusing on a specific time period of his life when he was overseas in the military.

An autobiography by a young Olympian is “Grace, Gold and Glory: My Leap of Faith” by Gabrielle (Gabby) Douglas. She had a writer, Michelle Burford, help her in writing her autobiography. This is common for those who have a story to tell but may not have the words to express it well. Gabby was the darling of the 2012 Olympics, winning gold medals for the U.S. in gymnastics along with being the All-Around Gold Medal winner, the first African-American to do so. Many young athletes see her as an inspiration. Her story also became a television movie, “The Gabby Douglas Story.”

VII. Related Terms

The life story of one person written by another. The purpose may to be highlight an event or person in a way to help the public learn a lesson, feel inspired, or to realize that they are not alone in their circumstance. Biographies are also a way to share history. Historic and famous people may have their biographies written by many authors who research their lives years after they have died.

VIII. Conclusion

Autobiographies are a way for people to share stories that may educate, inform, persuade, or inspire others. Many people find writing their stories to be therapeutic, healing them beyond what any counseling might do or as a part of the counseling. Autobiographies are also a way to keep history alive by allowing people in the present learn about those who lived in the past. In the future, people can learn a lot about our present culture by reading autobiographies by people of today.

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Article contents

Life writing.

• Craig Howes Craig Howes Department of English and Center for Biographical Research, University of Hawai'i at Mānoa
• https://doi.org/10.1093/acrefore/9780190201098.013.1146
• Published online: 27 October 2020

Since 1990, “life writing” has become a frequently used covering term for the familiar genres of biography, autobiography, memoir, diaries, letters, and many other forms of life narrative. Initially adopted as a critical intervention informed by post-structuralist, postmodernist, postcolonial, and especially feminist theory of the 1970s and 1980s, the term also refers to the study of life representation beyond the traditional literary and historical focus on verbal texts, encompassing not only other media—film, graphic narratives, online technologies, performance—but also research in other disciplines—psychology, anthropology, ethnic and Indigenous studies, political science, sociology, education, medicine, and any other field that records, observes, or evaluates lives.

While many critics and theorists still place their work within the realms of autobiography or biography, and others find life writing as a discipline either too ideologically driven, or still too confining conceptually, there is no question that life representation, primarily through narrative, is an important consideration for scholars engaged in virtually any field dealing with the nature and actions of human beings, or anything that lives.

• autobiography
• autofiction
• life narrative

As Julie Rak noted in 2018 , Marlene Kadar’s essay “Coming to Terms: Life Writing—from Genre to Critical Practice,” although written in 1992 , still offers a useful account of life writing’s history as a term, and is still a timely reminder to examine constantly the often-buried theoretical assumptions defining and confining it. After noting that because “life writing” was in use before “biography” or “autobiography,” it “has always been the more inclusive term,” Kadar supplies a taxonomy in the form of a progressive history. Until the 1970s, “life writing” referred to “a particular branch of textual criticism” that subjected some biographies and autobiographies, and a scattering of letters and diaries, to the same literary-critical scrutiny commonly focused upon poetry, drama, or fiction. Kadar cites Donald J. Winslow’s Life-Writing as a locus for this understanding. 1 The problem lurking here is what Kadar elsewhere refers to as “the New Critical wolf”: theoretical assumptions that are “androcentric” and privilege notions of “objective truth and narrative regularity.” Clearly wanting to label this as residual, she turns to the then-current “more broadened version” of life writing. Its champions are primarily, though not exclusively, feminist literary critics devoted to “the proliferation, authorization, and recuperation” of autobiographical texts written by “literary,” but also “ordinary,” men and women. While the “ordinary” allows “personal narratives, oral narratives and life testimonies” and even “anthropological life histories” to enter the realm of life writing, this now-dominant understanding is nevertheless problematic, because it still tends to uncritically draw such binary distinctions as fiction/autobiography, literary/non-literary non-fiction, and even male/female. Heavily influenced by postmoderism, Kadar proposes a third, emergent vision of life writing that moves beyond a desire for fixity and canonization—“with laws and law-making”—by embracing a dynamic, constantly questioning methodology: “From Genre to Critical Practice.” 2

This approach gestures toward a focus upon intersectionality in “unofficial” writing—Kadar’s example is Frederick Douglass—and toward an expansive yet politically engaged life-writing practice that can “appreciate the canon, revise it where it sees fit, and forget it where it also sees fit.” 3 The same approach should be adopted toward such terms as “the autobiographical” or “life writing itself.” After describing life writing “as a continuum that spreads unevenly and in combined forms from the so-called least fictive narration to the most fictive,” she offers her own “working definition.” Life-writing texts “are written by an author who does not continuously write about someone else”—note how biography has at best been relegated to the fringes of the realm—and “who also does not pretend to be absent from the [black, brown, or white] text himself/herself.” Neither an archive nor a taxonomy of texts, life writing employs “an imperfect and always evolving hermeneutic,” where “classical, traditional, or postmodern” approaches coexist, rather than always being set against each other. 4

Kadar’s early-1990s assessment and prophecy will serve here as loose organizational principles for describing how the move “from Genre to Critical Practice” in the ensuing years has proved to be an astonishing, though contested, unfolding of life writing as a term encompassing more initiatives by diverse communities in many locations and media that even the far-sighted Marlene Kadar could have anticipated. Even so, her insistence that life-writing critics and theorists must continue to “resist and reverse the literary and political consequences” produced by impulses toward “ʻdepersonalization’ and unrelenting ʻabstraction’” still stands. 5

From Biography to Autobiography to Life Writing

Kadar’s support for life writing as the umbrella term came in the wake of an energetic focus on autobiography as the most critically and theoretically stimulating life-narrative genre. The academic journal Biography had begun appearing in 1978 , but for all its claims to be An Interdisciplinary Quarterly , it was assumed to be largely devoted to traditional biography criticism and theory. In 1980 , James Olney noted the “shift of attention from bios to autos —from the life to the self,” which he credited with “opening things up and turning them in a philosophical, psychological and literary direction.” 6 Biography scholars would have begged to differ. Discussions of psychology, with an emphasis on psychoanalysis, and of the aesthetics of literary biography, with special attention paid to affinities with the novel, had been part of biography’s critical and theoretical environment for a century. 7 Olney however was not just arguing for autobiography’s legitimacy, but for the primacy of autos within literature itself—a key claim of his landmark monograph Metaphors of Self . 8 Olney was a convener as well as a critic and theorist. Ricia Chansky identifies the “International Symposium on Autobiography and Autobiography Studies” Olney held in 1985 as “the moment when contemporary auto/biography studies emerged as a formal discipline within the academy”—not least because it led to the creation of a newsletter that soon became the journal a/b: Auto/Biography Studies . Although the slashes in the title—credited to Timothy Dow Adams—suggested that a/b would not privilege “self-life writing over life writing,” the variety and sheer number of critical and theoretical works devoted to autobiography in the ensuing years made it clear that for many, it was the more interesting genre. 9

Institutionalization and professional assertion soon followed. Sidonie Smith recalls “those heady days” of creating archives and bibliographies, but also of “writing against the grain, writing counterhistories, writing beyond conventional plots and tropes.” 10 As Olney had predicted, autobiography became a flash point for critical and theoretical writing in women’s studies—a trend heavily influencing Kadar’s thoughts on life writing, and canonized in Sidonie Smith and Julia Watson’s Women, Autobiography, Theory: A Reader , whose introduction is still the most detailed account of how women critics and theorists from the 1970s to the late 1990s drew upon the most compelling feminist, post-structuralist, cultural, and political writing in their encounters with autobiographical texts. 11

This interest in autobiography—with or without the slash—produced an entire generation of influential writers. Because of their general eminence, Paul de Man’s and Roland Barthes’s comments on and experiments with autobiography were closely examined, but other theorists made autobiography their central attention. 12 Philippe Lejeune’s profoundly influential essay “The Autobiographical Pact” complemented Olney’s book on metaphors of self, and so did Paul John Eakin’s volumes Fictions of Autobiography and Touching the World as arguments for the genre’s legitimacy within literary studies. 13 A host of important books, collections, and anthologies soon followed, many with a strongly feminist approach. Sidonie Smith’s A Poetics of Women’s Autobiography was an important intervention into literary aesthetics, and Smith and Watson’s edited collection De/Colonizing the Subject forged important links between autobiography and feminist and postcolonial theory. 14 Many other feminist critics and theorists in Europe and North America in the 1970s, 1980s, and 1990s directed their attention as writers and editors to autobiography, among them collection editors Shari Benstock and Bella Brodsky and Celeste Schenk; monograph writers Elizabeth Bruss, Leigh Gilmore, Caroline Heilbrun, Françoise Lionnet, Nancy K. Miller, and Liz Stanley; and essayists Susan Stanford Friedman and Mary G. Mason. Following in the tradition of Virginia Woolf’s A Room of One’s Own , other feminist literary and cultural historians sought out forgotten or yet-to-be-discovered women autobiographers—Patricia Meyer Spacks for the 18th century ; Mary Jean Corbett, Regenia Gagnier, Linda H. Peterson, and Valerie Sanders for the long 19th century ; Estelle C. Jelinek from the time of antiquity; and collection editor Domna C. Stanton from the medieval period to the 20th century . 15

Often viewed through the lens of literary and cultural theory, autobiography therefore became the most-discussed life-writing genre in the 1980s, and has largely remained so ever since. But from the time of Kadar’s Essays on Life Writing , the term “life writing” became increasingly employed as the umbrella term for representing the lives of others, or of one’s self. The key intervention here was Margaretta Jolly’s landmark two-volume Encyclopedia of Life Writing . Published in 2001 , the title term encompasses Autobiographical and Biographical Forms , and through her contributors, Jolly accounts in 1,090 large double-column pages not just for the genres that could be considered life writing, but for life-writing practices in a host of world regions and historical periods. She emphasizes her subject’s interdisciplinary nature. Although the “writing of lives is an ancient and ubiquitous practice,” and the term “life writing” can in England be traced back to the late 17th or early 18th century , it has only gained “wide academic acceptance since the 1980s.” While noting that “the study of autobiography is the most-long-standing and sophisticated branch of analysis in the field”—a claim that biography scholars would dispute, at least with regard to duration—Jolly grants Kadar’s wish to expand beyond the literary by including entries grounded in “anthropology, sociology, psychology, history, theology, cultural studies, and even the biological sciences,” and in forms of life narrative “outside of the written form, including testimony, artifacts, reminiscence, personal narrative, visual arts, photography, film, oral history, and so forth.” 16

The Encyclopedia also provides “international and historical perspective through accounts of life writing traditions and trends from around the world, from Classical times to the present,” and covers “popular and everyday genres and contexts—from celebrity and royal biography to working-class autobiography, letter writing, interviews, and gossip”—a continuation of work, epitomized by Smith and Watson’s Getting a Life , that pays close attention to how “ordinary” lives are produced in a variety of public and institutional settings. 17 Like Kadar, Jolly notes the “crucial influence” of “Women’s Studies, Cultural Studies, African-American, and Post-Colonial Studies” upon autobiography studies’ emergence in the 1980s, and she also observes that many contributors use the term “auto/biography” to point toward a more capacious sense of the field. But also like Kadar, in an “effort to balance the emphasis on autobiography,” Jolly chooses “life writing” as her preferred term, because it can more easily accommodate “many aspects of this wide-ranging field, not to mention regions of the world, where life-writing scholarship remains in its infancy, or has yet to emerge.” 18 This ambitious and expansive reference work anticipates most of the ensuing developments in life writing.

In the same year appeared the first edition of Smith and Watson’s Reading Autobiography . Although retaining autobiography as the covering term—describing it as “a particular generic practice” that “became definitive for life writing in the West”—they share Jolly’s commitment to generic, historic, and geographical inclusivity, and take a highly detailed approach to clarifying terminology. 19 Echoing Kadar, they note that autobiography “has been vigorously challenged in the wake of postmodern and postcolonial critiques of the Enlightenment subject”—an entity whose “politics is one of exclusion.” In response, they grant that “life writing” is a more expansive term, because it can refer to “writing that takes a life, one’s own or another’s, as its subject,” whether “biographical, novelistic, historical, or explicitly self-referential.” But, always sensitive to new developments and dimensions, Smith and Watson suggest that “life narrative” is even more capacious, because it refers to “autobiographical [and presumably biographical] acts of any sort.” 20 With the added perspective of nine years, and then eighteen years for their second edition, Smith and Watson update Kadar’s 1992 account of the profound impact that feminist, postmodernist, and postcolonial theory have had upon life writing—although they still direct readers to their own Women, Autobiography, Theory for a more detailed “overview of representative theories and work up to the late 1990s.” 21 Their main point is that the theoretical work Kadar called for has been taking place: “the challenges posed by postmodernism’s deconstruction of any solid ground of selfhood and truth outside of discourse,” when coupled with “postcolonial theory’s troubling of established hierarchies of authority, tradition, and influence,” led life-writing critics and theorists to examine “generic instability, regimes of truth telling, referentiality, relationality, and embodiment,” which not only undermined “the earlier critical period’s understanding of canonical autobiography” but also “expanded the range of life writing and the kinds of stories critics may engage in rethinking the field of life narrative.” 22

An efficient two-page synopsis identifies the specific theoretical stimuli for this critical scrutiny. Lacanian psychoanalysis undercut the notion of the autonomous self, replacing it with a “split subject always constituted in language.” Derridean différance offers the insight that in life writing, as in all writing, “meaning is always in process, continuously put off, or deferred.” With Jean François Lyotard, Jacques Derrida also deconstructs the supposed boundaries between Truth and fiction, actually set by supposed “ʻmaster’” narratives. Louis Althusser’s linking of socioeconomic relations to subjectivity offers life-writing scholars interpolation as a concept for understanding life-narrative construction. Michel Foucault’s claim that discourse is an exercise of power tied to the construction of identity is also formative, and so is Bakhtinian heteroglossia as the counter to the fantasy of the unitary “I.” Feminist theory directs life-writing scholars’ attention to the relationship between the political and the personal, to the “cultural inscription and practices of embodiment,” and to the dangers inherent in universalized notions of “woman.” Frantz Fanon’s work on the colonial gaze foregrounds domination’s and subordination’s roles in the constitution of subjectivity, which postcolonial, ethnic, and feminist theorists all see as crucial for recognizing the minoritizing of subjectivity, and then decolonizing such constructions. Gay and queer studies reveal the performative nature of subjectivity, and undermine binary models of gender and sexuality. Cultural studies’ interest in “popular, public, and everyday forms of textuality, including everyday practices of self-narrating in verbal, visual, and mixed modes,” extends the range of life narratives that can be examined, and neurological studies offer insight into the brain’s material effects on memory, and into trauma’s impact on perceived identity. 23

In “Expanding Autobiography Studies,” the final chapter of their two-part critical history of the field, Smith and Watson list the important critical and theoretical initiatives of previous decades. Performativity, positionality, and relationality are presented as “Useful Theoretical Concepts.” Judith Butler’s Gender Trouble and Bodies that Matter and Smith’s own Subjectivity, Identity, and the Body are cited as formative texts for recognizing that the self customarily thought of as “prior to the autobiographical expression or reflection is an effect of autobiographical storytelling.” 24 Paul John Eakin and Nancy K. Miller are credited with expanding the applicability of relationality beyond feminist theory and women’s autobiography and arriving at a virtually universal applicability for life writing. 25 The most important concept for contemporary life writing, however, is arguably positionality, because it helps critics and theorists evaluate how “culturally salient” subject positions, “always multiple and often contradictory,” find ways to tell their stories “at a particular historical moment.” Formed “at the intersections of multiple discursive trajectories,” certain life narratives insist on the significance of subjects who are dealing with “de/colonization, immigration, displacement, and exile.” Such narratives demand the critical use of such terms as “ hybrid, border, diasporic, mestiza, nomadic, migratory, minoritized ”; they also force theorists to consider the natures and purposes of Indigenous life writing. 26

Despite this emphasis on life writing as referential, registering changes in practice still tends to involve identifying and tracking what Smith and Watson call “Emergent Genres of Life Narrative.” 27 Their second edition ( 2010 ) foregrounds trauma narratives, disability life writing, and human rights narratives and testimonio ; life writing appearing from a much wider range of locations, organized under the title “Critical Geographies”; narratives that foreground developments in neuroscience, memory, and genetics; the myriad of life representations arising out of the turbulent realm of “Digitalized Forms and Identities”; the templates or familiar genres deployed for recording “Everyday Lives”; and, more generally, autocritical scholarship, which requires critics or theorists to position themselves in relation to the narratives they choose to record or study and, in some cases, to recognize the necessity of being a part or a member of the group or population whose life stories are at issue.

Smith and Watson end their anatomy and history of autobiography by noting that the many “contesting approaches” to life writing are also adding many formerly “marginal” forms to “the canon of autobiography.” In the 2010 edition, Appendix A offers definitions for “Sixty Genres of Life Narrative,” up from the fifty-two provided in the first edition. But Smith and Watson “conclude” that increases in the number of relevant texts and presenting media will lead to major shifts in critical and theoretical debates, even though at bottom, a life narrative is always “a rhetorical act embedded in the history of specific communities.” 28

Backlash, Boomlash, and Boom Echo

Raymond Williams and Marlene Kadar would both acknowledge that treating ideologies or forms of life writing as residual, dominant, or emergent, and therefore capable of being mapped onto a historical or progressive continuum, can neither assume the disappearance of earlier stages, nor prevent resurgences and unpredictable alliances. 29 Take for example the history of critical debates since the late 20th century about the relationship between biography and life writing. The focus on autobiography as the central concern for critics has often been explicit: Marlene Kadar’s 1992 provisional definition of life writing ruled out authors who “continuously write about someone else.” 30 In response, many biographers and some theorists have insisted on biography’s continuing significance, and even centrality. Everyone involved tends to agree that biography was once dominant, but is now either residual, or treated as such. But in the 21st century highly unlikely allies have been calling for a “Biographical Turn,” which for some means re-evaluating what it means to tell another’s life in different historical and cultural contexts, and for others actually means a “Return” to pre-eminence—emergent and residual, yet united in asserting biography’s value. 31

Insisting that biography’s strongest affinities lie with history, and not literature or cultural studies, Hans Renders has arguably been the most visible defender of biography against the onslaught of life writing, which he considers a “shift” into an “ideology” emerging from “comparative literature and gender and cultural studies.” According to Renders, life-writing critics and theorists present autobiographers, and sometimes themselves, as “victimized by social context” and therefore, in Michael Holroyd’s words, seeking “retrospective justice.” 32 The biographer or biography theorist respects the “scholarly imperative to analyze the world (including the past) as objectively as possible”—not “to correct injustice,” but to “understand it better.” Conversely, those who study life writing seem preoccupied with “battered and raped women,” “Mothering Narratives,” “ʻJewish Women and Comics,’” “homosexuals,” and self-proclaimed victims of “climate change” or “racism, and social exclusion.” 33 The emphasis on gender here can be read as a response to the profound impact of feminist theory on autobiography and life-writing studies, and the gestures to race and class as resistance to the tenor of emergent life-narrative scholarship.

What must also be accounted for is the sustained production of biography by trade and university publishers. Throughout the memoir boom that so many theorists, critics, and reviewers have declared, highly conventional single-volume biographies have appeared regularly, speaking to the continued public interest in what Hans Renders calls “the biographical tradition, based on individuals like Hitler or Einstein, but also less famous persons.” 34 The indisputable success of The Biographer’s Craft newsletter ( 2008 –) and the creation of the Biographers International Organization (BIO; 2010 –), with its hugely popular annual conferences, counter biography’s residual status in much life-writing criticism and theory with its continued prominence in the public sphere. And arguably, most BIO members prefer it that way. Like many poets, playwrights, and novelists, biographers are often wary of critics and theorists of literature, preferring at their conferences to discuss publishing possibilities, or to receive advice on research and writing, rather than engage in theoretical or critical analysis of biography as a genre. 35

But of course, life-writing scholars are also interested in production, with Julie Rak as the most prominent cultural historian and theorist who insists that publication and distribution are salient, and even essential, subjects of study. Although primarily concerned with autobiography, her 2013 book Boom! Manufacturing Memoir for the Popular Market focuses on books “written, published, sold in bookstores and circulated by public libraries for people like my grandmother.” Rak presents non-fiction “as part of a production cycle” of “commodities that are manufactured for a market by an industry,” paying close attention to the mechanics of publication, distribution, classification for purposes of sales, and advertising for books “produced by mainstream presses for large audiences”—a critical interest that she paved the way for by editing a special issue on popular auto/biography for the Canadian Review of American Studies . 36 The affordances and filters that particular models of production impose upon life narratives are technological correlatives to the ideologically informed reception that certain kinds of life writing and testimony encounter when they venture into the world. Most notably, in Tainted Witness , Leigh Gilmore evaluates how women’s life narratives arouse powerful, at times hysterical, and even violent constraints upon what they are allowed to say about life conditions, or about the actions of others—and especially powerful men. 37 Though genres and chosen media may range from published memoirs or testimonio , to congressional hearings, to court trials, to social media venues and campaigns, the dynamics are the same. Women’s life-writing narratives threaten to disrupt or damage a man’s supposed life script by adding to it details of abuse, or cruelty, or criminality. It would be hard to imagine a more vivid example of what Hans Renders objects to in life writing, but the social and political significance of such narratives also explains why they could never easily be relegated to a marginal subgenre of biography. In fact, the power dynamics in Renders’s paradigm between male-centered “objective” biography and female-produced “victim” life writing mirror those in the scenarios that Gilmore evaluates.

The rest of this article maps out the most notable developments in life-narrative scholarship since the late 20th century , drawing principally on the “Annual Bibliography of Works about Life Writing,” an annotated list of books, edited collections and special issues, individual articles, and dissertations that appears in Biography : An Interdisciplinary Quarterly . The sample contains roughly 21,000 entries; the discussion here will concentrate on books, edited collections, and special issues because they represent formidable and sustained studies of some aspect of the field, or point to a community of scholars engaged in similar work. While essentially tracing out Kadar’s three-stage progressive account of life writing, this article will also provide examples of critical and theoretical practice to elaborate on the expansions, revisions, departures, and interventions that the practice of life-writing and life-narrative scholarship has produced. The discussion concludes by identifying a few ideas that might offer new directions or understandings for those interested in how lives are represented.

Biography Studies Sustained—Residual as Dominant and Emergent

For a genre supposedly lapsing into subordinate status or irrelevance, biography continues to attract a great deal of critical and theoretical attention. Though usually retracing that familiar Western trajectory running from Rome through to contemporary trade publications, historical or thematic overviews, often written by well-known biographers, appear regularly. Some are reader-friendly primers, such as Nigel Hamilton’s Brief History , Hermione Lee’s Very Short Introduction , and Andrew Brown’s Brief History of Biography: From Plutarch to Celebs , all of which appeared in the early 21st century . More “weighty” accounts include Catherine N. Parke’s Biography: Writing Lives and Paula R. Backscheider’s Reflections , both published in the 1990s. 38 Before any of these histories, however, came Carl Rollyson’s Biography: An Annotated Bibliography ( 1992 ), which organized and annotated the critical literature in English. Arguably the most prolific writer on biography theory and criticism, Rollyson has published many biographies—political, literary, and cinematic—and several guides and essay collections about theory and practice. 39 Biography: A User’s Guide , for instance, discusses keywords alphabetically; Hans Renders and Nigel Hamilton adopt a similar format for The ABC of Modern Biography . 40 A popular sub-genre comprises books for would-be biographers written by famous practitioners. Extending back to Leon Edel, more recent examples include Michael Holroyd’s Works on Paper , Carl Rollyson’s Confessions of a Serial Biographer , and Nigel Hamilton’s How to Do Biography —a companion volume to his Brief History . 41

Literary lives appear prominently in all of these works, and many texts take them as their subject. John Batchelor’s The Art of Literary Biography and Warwick Gould and Thomas F. Staley’s Writing the Lives of Writers are edited collections arising out of conferences in the 1990s; more recently, Robert Dion and Frédéric Regard have edited Les nouvelles écritures biographiques , and Richard Bradford has overseen a substantial Companion to Literary Biography . 42 Individual monographs include Michael Benton’s Towards a Poetics of Literary Biography , and Rana Tekcan’s Too Far for Comfort . And even though she has reservations about focusing on female writers, Alison Booth’s How to Make It as a Woman is a detailed and insightful study of literary biography in the 19th and 20th centuries . 43

Despite literary biography’s apparently privileged status, historians have also explored biography’s significance to their field. Barbara Caine’s Biography and History was followed by two edited collections from the Netherlands: Hans Renders and Binne de Haan’s Theoretical Discussions of Biography ; and Renders, de Haan, and Jonne Harmsma’s The Biographical Turn . Both volumes argue for biography as a historical genre that does not share life writing’s preoccupations with race, class, and gender. That the distinction is significant is also suggested by the title of Tanya Evans and Robert Reynolds’s “Introduction to this Special Issue on Biography and Life-Writing” for disclosure . 44 German historians have also displayed a strong interest in biography, in edited clusters such as Atiba Pertilla’s and Uwe Spiekermann’s “The Challenge of Biography,” or Sarah Panter’s Mobility and Biography . 45

Monographs and collections have delineated specific periods and locations for study. Thomas Hägg’s The Art of Biography in Antiquity has some affinities with the Ashgate Research Companion to Byzantine Hagiography , edited by Stephanos Efthymiadis; with Sharpe and Zwicker’s edited collection on early modern England; and with Mombert and Rosellini’s edited volume Usages des vies . Juliette Atkinson’s Victorian Biography Reconsidered is an astute and suggestive study of England’s intense preoccupation with various forms of the genre. 46 And while such works tend to confine themselves to Western Europe—Great Britain, France, and Germany/Austria—or the United States, collections have focused on other regions, among them Eastern Europe and the Nordic countries. 47

Despite the longstanding suspicion of considering biography through the lens of contemporary theory, a substantial number of such works have appeared since c. 2005 , many from the Ludwig Boltzmann Institute for the History and Theory of Biography in Vienna. Wilhelm Hemecker, its director, has edited or co-edited several volumes; among them is the remarkable Theorie der Biographie , co-edited with Bernhard Fetz, which contains excerpts from famous authors and theorists with special relevance for biography—Samuel Johnson, Thomas Carlyle, William Dilthey, Sigfried Kracauer, Michel Foucault, the Vienna psychoanalysts—paired with commentaries by contemporary biography scholars. Fetz also edited Die Biographie—Zur Grundlegung ihrer Theorie , which appeared in 2009 . 48 More than a decade earlier, a similar overview was provided by Biographical Creation / La création biographique , an English/French volume edited by Marta Dvorak. 49 Monographs taking a sustained theoretical approach to biography are relatively rare. Two of the most notable are Susan Tridgell’s Understanding Our Selves and Caitríona Ní Dhúill’s Metabiography , an impressive overview by a scholar formerly at the Boltzmann Institute. 50

The subtitle of the journal Biography promises interdisciplinary scholarship. Thanks largely to Freud, psychoanalytic and psychological approaches to life narrative have appeared for over a century, with psychobiography emerging as a clearly delineated discipline. Alan C. Elms’s Uncovering Lives led the way, with William Todd Schultz’s Handbook of Psychobiography offering a synthesis of scholarly activity by such researchers as psychologist Dan P. McAdams, author of The Redemptive Self and many other studies of personality. 51 Other social sciences at times have taken their own biographical turn, among them both archaeology and anthropology. 52

Indigenous studies scholarship represents a significant emerging engagement. A special issue of Biography entitled “Indigenous Conversations about Biography” explores the genre’s value and dangers for researchers recovering or creating archives, histories, and life records. In The Power of the Steel-Tipped Pen , Noenoe K. Silva refers to her method of establishing critical and publishing genealogies for Hawaiians writing in Hawaiian in the 19th and early 20th centuries as bio-bibliography. Fine arts scholars are also assessing what biography contributes to their disciplines. Melanie Unseld’s Biographie und Musikgeschichte examines the genre’s usefulness for those interested in musical culture and historiography, and a Biography special issue entitled “Verse Biography” should not be immediately conflated with literary biography. Though the lives discussed are in verse, the subjects are not necessarily writers. 53

In their introduction to “Indigenous Conversations about Biography,” Alice Te Punga Somerville and Daniel Heath Justice note that even though the term “life writing” is common in academic circles, and even though the plan for the seminar for contributors held in Honolulu was to “unpack, repack, and throw out terms once we’re at the table,” they chose to stay with biography because it “is well-known in Indigenous circles,” concluding that “there is still life in this old term ʻbiography’ yet.” 54 The same can be said for the publishing world; in fact, “biographies” are regularly appearing for non-human subjects. Noted biographer and novelist Peter Ackroyd published London: The Biography in 2000 ; the “concise” version followed in 2012 . In Britain, biographies of the Ordnance Survey and the English Breakfast have also appeared. 55 Resisting relegation, biography can still raise and fulfill expectations of a chronological, substantial, and interesting narrative that deals with real subjects, human or otherwise—a good story, with the added virtue of being true.

Autobiography and Auto/Biography—Mapping Self-Representation

If autobiography studies began in the late 1970s, its institutionalization occurred in the mid- and late 1980s, and its later codification came with the journal a/b: Auto/Biography Studies and works such as Smith and Watson’s Reading Autobiography , the years since 1990 have also seen sustained efforts to define and further theorize the genre in ways that expand its range and history. Handbooks such as the two editions of Linda Anderson’s Autobiography and Laura Marcus’s Autobiography: A Very Short Introduction offer brief, engaging entries into the genre’s past and present. Other efforts to map out auto/biography as a generic marker and critical practice include The Routledge Auto/Biography Studies Reader , edited by Ricia Anne Chansky and Emily Hipchen. Much of the content first appeared in the pages of a/b: Auto/Biography Studies , which they co-edit. Ashley Barnwell and Kate Douglas’s co-edited Research Methodologies for Auto/Biography Studies provides an overview of work being conducted in the field as the 21st century enters its third decade, often with suggestions for future directions. 56

Volumes devoted to theory include Carole Allamand’s book about Philippe Lejeune’s great influence on “ l’autobiographie en théorie ” or Lia Nicole Brozgal’s Against Autobiography . Marlene Kadar’s emphasis on the postmodern is mirrored in edited collections by Ashley et al. and Couser and Fichtelberg, and in Gunnthórunn Gudmundsdóttir’s monograph Borderlines . 57 Other scholars turned their attention to the field’s historical and geographical reach. 58 In the United States, slave narratives have been a major subject for research. William L. Andrews’s To Tell a Free Story and Slavery and Class in the American South have been major contributions to this field. 59 If we add Rachel McLennan’s American Autobiography , the result is an emphatic rejection of Georges Gusdorf’s highly influential claim that autobiography was an 18th-century product of the Western European Enlightenment. 60

Over the course of his career, Paul John Eakin, one of the early champions of autobiographies as literary texts, has shifted his attention to autobiographies as foundational, even neurological, imperatives in all people. As the titles of How Our Lives Become Stories: Making Selves and Living Autobiographically: How We Create Identity in Narrative suggest, his close readings of published autobiographies are gestures toward identifying the structures and narratives of consciousness that constitute humans as humans. More philosophical in emphasis, Richard Freadman’s Threads of Life shares Eakin’s conviction that autobiography offers valuable information about human nature. 61 Autobiography has however attracted most critical and theoretical interest in the realm of the political, often with feminism as the starting point. Liz Stanley’s The Auto/Biographical I and Laura Marcus’s Auto/Biographical Discourses were influential British monographs; and Broughton and Anderson’s edited collection, Women’s Lives/Women’s Times , turned the tables by suggesting that autobiography could contribute to feminist theory, as well as the other way around. Many of these monographs and collections were powerfully shaped by work on the distinctiveness of women’s writing, most notably the autobiographical/theoretical texts of Hélène Cixous such as Rootprints , which emerged from her famous writings in the 1970s on l’écriture féminine . Noted memoirists such as Jill Ker Conway, in her When Memory Speaks , also evaluate how differently men and women understand and write about their lives. 62

Other scholars have worked to establish traditions of women’s self-representation, whether Florence S. Boos in Memoirs of Victorian Working-Class Women ; Laura Beard’s Acts of Narrative Resistance , which focuses on autobiographical writing in the Americas; or Marilyn Booth’s Journal of Women’s History special issue, “Women’s Autobiography in South Asia and the Middle East.” Some of the most visible theoretical works address the challenges of speaking out through autobiography against political or social repression. A 2008 special issue of Women’s Studies Quarterly was simply entitled “Witness.” Two of the best-known monographs are Gillian Whitlock’s Soft Weapons , which investigates the strategies Middle Eastern women employ to attract Western audiences in order to inform them about life during a time of forced globalization, emigration, and wars on terror; and Leigh Gilmore’s previously mentioned Tainted Witness , which looks at high-profile witnesses such as Anita Hill and Rigoberta Menchú to analyze the relationship between gender and credibility within patriarchal cultures. 63

Though strongly influenced by feminist theory, other critics and theorists extend their discussions of testimony out to a wide range of locations and chosen media. Cynthia Franklin and Laura E. Lyons co-edited “Personal Effects: The Testimonial Uses of Life Writing” as a special issue of Biography . The essays in Tracing the Autobiographical , edited by Marlene Kadar and colleagues, explore the interplay between genre, location, national politics, ethics, and life narrative. Although Leigh Gilmore entitled her 2000 monograph The Limits of Autobiography , subtitled Trauma, Testimony, Theory— and although a 2008 Southern Review special issue explores “The Limits of Testimony”—developments such as the Me Too movement suggest that personal witnessing by the abused or persecuted will continue to attract the attention of autobiography scholars. 64

A similar impulse accounts for the close attention being paid to autobiographical sub-genres. Prominent among these is memoir, which some would argue should become the covering term. G. Thomas Couser’s Memoir: An Introduction offers a concise yet rich overview of the form, with an emphasis on American memoir, while Ben Yagoda’s Memoir: A History provides a detailed account of the form’s fortunes over time. Both Couser and Yagoda move smoothly between “literary” examples and more commercial texts, acknowledging that popular publications of the 21st century are primarily responsible for many critics and reviewers declaring that we are living during a memoir “boom.” As with autobiography, however, some critics are hesitant to let this form of life writing refer to almost any mode of self-representation. A 2018 edited collection describes its task as Mediating Memory: Tracing the Limits of Memoir . 65

Autobiography scholars have also directed their attention to the less prestigious, and even unpublished sub-genres of written self-representation. Philippe Lejeune’s longstanding interest in personal journals has resulted in articles and books drawing their subjects from over four centuries and a variety of media—from manuscripts to computer screens. On Diary , a collection of English translations on the subject, is similar in its distillation of stimulating thought to On Autobiography , Lejeune’s landmark 1989 collection. The sheer number, variety, and importance of his publications confirm his status as a pre-eminent scholar of self-representation since the 1980s. In French, his work on diary is complemented by such works as Françoise Simonet-Tenant’s Le journal intime . In English, decades before On Diary appeared, Lejeune made an important contribution to Inscribing the Daily , edited by Suzanne L. Bunkers and Cynthia A. Huff. In that same collection, Helen Buss’s “A Feminist Revision of New Historicism to Give Fuller Readings of Women’s Private Writing” offers another example of how contemporary feminist theory engaged with other theoretical movements, and often did so by drawing upon autobiography as a source for hidden or “sub-literary” women’s texts. 66

Since c. 1990 , the auto- in auto/biography studies has largely set the agenda for theoretical and critical approaches to life writing; indeed, for many scholars, autobiography is all but synonymous with life narrative. But as Marlene Kadar noted in 1992 , the term “life writing” offers possibilities for study that autobiography cannot accommodate, or will even distort, as a survey of what has been pursued under the life banner makes all too clear. 67

Life Writing and Life Narrative—Emergence and Pervasion

In the years since Margaretta Jolly’s Encyclopedia of Life Writing appeared, many substantial works have addressed aspects and practices of life writing as an interdiscipline. Zachary Leader’s On Life-Writing is one of his many publications as a critic, theorist, and editor, and although literary biography is Richard Bradford’s primary interest, in his edited collection Life Writing: Essays on Autobiography, Biography and Literature , the term serves as a container for the more familiar designations. The title of Life Writing in the Long Run: A Smith & Watson Autobiography Studies Reader , a compendium of the most influential essays by two of autobiography’s most prolific and prominent critics, theorists, and editors, does something similar, and in fact many prominent a/b theorists have made the shift, at least in their titles, to a “life” designation. Liz Stanley’s 2013 edited collection is called Documents of Life Revisited , and the title of her 2010 guest-edited special issue of Life Writing is “In Dialogue: Life Writing and Narrative Inquiry.” Perhaps most significantly, almost twenty years after his landmark discussion of metaphors of self, James Olney, the acknowledged founder of autobiography studies, published Memory and Narrative: The Weave of Life-Writing . 68

The term increasingly appeared in publications about its fortunes in academia. When Miriam Fuchs and I edited a volume for the Modern Language Association’s Options for Teaching series, in the interests of full coverage, we entitled it Teaching Life Writing Texts . A decade later, Laurie McNeill and Kate Douglas’s a/b: Auto/Biography Studies special issue on pedagogy, and the resulting Routledge edited collection, were both called “Teaching Lives: Contemporary Pedagogies of Life Narratives.” For its two clusters on the subject, the European Journal of Life Writing took the same title as Fuchs and me, with the obvious addition “in Europe.” 69

As has been the case with both biography and autobiography, as part of its codification life writing has undergone a great deal of historical and regional analysis. Sometimes the results are interdisciplinary, such as Penny Summerfield’s Histories of the Self , but in the case of the multi-volume Oxford History of Life-Writing (Zachary Leader gen. ed.) the goal is to produce a comprehensive survey. The first two volumes, covering the Middle Ages and the early modern period respectively, appeared in 2018 . Other decidedly British, period-based publications include David Amigoni’s edited collection Life Writing and Victorian Culture , and Andrew Tate’s special issue of Nineteenth Century Contexts , “Victorian Life Writing.” 70 The historical focus extends to France and Germany in the Modern Language Studies special issue “Co-Constructed Selves: Nineteenth-Century Collaborative Life Writing.” Entirely European surveys include Écrire des vies: Espagne, France, Italie, XVIe–XVIIIe siècle, and German Life Writing in the Twentieth Century . 71

Continuing in the tradition of feminist critical interventions through autobiography, life writing has become a covering term for studies of women’s writing over the centuries and around the world. Some publications explicitly link theoretical positions to life writing; for instance, the Prose Studies special issue devoted to “Women’s Life Writing and Imagined Communities,” which puts Benedict Anderson’s brand of political science and cultural history into play. Other works employ life writing to map out genealogies of women authors and intellectuals. The edited collection Writing Medieval Women’s Lives reclaims a number of European subjects, and after writing Romancing the Self in Early Modern Englishwomen’s Life Writing , Julie Eckerle co-edited Women’s Life Writing and Early Modern Ireland with Naomi McAreavey. Reversing the pattern, Amy Culley followed up Women’s Life Writing, 1700–1850 , a collection co-edited with Daniel Cook, with a monograph entitled British Women’s Life Writing, 1760–1840 . 72 Susan Civale’s Romantic Women’s Life Writing covers much of the British nineteenth century , as does “Silence in the Archives: Censorship and Suppression in Women’s Life Writing,” a special issue of 19: Interdisciplinary Studies in the Long Nineteenth Century . Another co-edited collection, Women’s Life Writing and the Practice of Reading , ranges from slave narratives to Virginia Woolf. Finally, in Love and Struggle: Letters in Contemporary Feminism , Margaretta Jolly argues for the enduring power of written correspondence, whether on paper or as e-mail. 73

Delineations of criticism and theory from specific regions have adopted life writing as an organizing principle. “African American Life Writing” is the title of an a/b: Auto/Biography Studies special issue; other volumes dealing with North American subjects include Viola Amato’s Shifts in the Representation of Intersex Lives in North American Literature and Popular Culture , and Katherine Adams’s monograph Owning Up . 74 Ongoing work on European life writing has resulted in several survey collections. Life Writing Matters in Europe , paradoxically published in the Winter-Verlag American Studies series, is one of the more expansive volumes, but the region examined can be more specific, as in Simona Mitroiu’s Life Writing and Politics of Memory in Eastern Europe , or the European Journal of Life Writing ’s cluster “Life Writing Trajectories in Post- 1989 Eastern Europe”—despite the fact that “Eastern Europe” is a highly contested term. 75 A life-narrative focus can also govern work on non-European and non-North American regions, whether Africa, Australia, the Pacific, or South East Asia. 76 As for India, South Asia: Journal of South Asian Studies has featured a cluster entitled “Narratives of Transformation: Religious Conversion and Indian Traditions of Life Writing,” and Biography ’s 2017 special issue, “Caste and Life Narratives,” has been republished in India as an edited collection. An especially ambitious effort at global reach is Locating Life Stories: Beyond East-West Binaries in (Auto)Biographical Studies , which features essays about Malaysia, Indonesia, South Africa, Great Britain, Hawaiʻi, Iraq, Australia, India, and China as part of its effort to interrogate the dominance of Euro-American theoretical paradigms. 77

A number of prominent scholars have devoted books to decolonial, postcolonial, and diasporic life writing. Bart Moore-Gilbert’s Postcolonial Life-Writing presented itself as “the first critical assessment” of such texts in English. Philip Holden’s Autobiography and Decolonization casts a wide net in its analysis of life writing by Asian and African leaders of countries emerging from imperial occupation, and Gillian Whitlock’s Postcolonial Life Narratives surveys 18th- to 21st-century works by Indigenous and settler life writers on at least four continents. Edited collections include the 2013 special issue of Life Writing entitled “Women’s Life Writing and Diaspora,” and the books Ethnic Life Writing and Histories and Transculturing Auto/Biography . 78

Life writing has become a common component across disciplinary fields. “The Work of Life Writing,” an a/b: Auto/Biography Studies special issue, features articles grounded in family dynamics, working-class autobiography, ethnography, ecological studies, philosophy, medicine, political and social commentary, and institutional investigations. Paul John Eakin’s edited collection The Ethics of Life Writing foregrounds the relationship between ethics and aesthetics, but also explores testimonio , race, disclosure, and life writing as an agent of harm. David Parker’s The Self in Moral Space examines life writing as a site for ethical analysis. Life Writing has published a special issue entitled “Philosophy and Life Writing,” and Concentric: Literary and Cultural Studies one called “Life Writing as Empathy.” On a more discursive note, Joan Ramon Resina’s edited collection Inscribed Identities focuses on language as constitutive of the subject. 79

Vulnerability and precarity are central concerns for many life-writing sub-genres. Since the late 20th century , G. Thomas Couser has been the most prominent scholar exploring the relationship between life narrative and disability in his monographs and edited and co-edited collections. 80 Trauma in its various forms has been an important concern for life-writing scholars. Suzette A. Henke’s Shattered Subjects was one of the first publications to address profound physical and psychological upheavals, experienced personally or collectively. Susanna Egan’s Mirror Talk examines how crisis leads to cultural expression in media ranging from film to hybrid literary forms, and from quilting to comics. Miriam Fuchs’s The Text Is Myself explores the different forms life writing can take in response to historical, political, and personal assault. Gillian Whitlock and Kate Douglas’s co-edited Trauma Texts began as a special issue of Life Writing entitled “Trauma in the Twenty-First Century”; another edited collection in this field is Haunted Narratives: Life Writing in an Age of Trauma . 81 Meg Jensen’s The Art and Science of Trauma and the Autobiographical discusses prison poems, testimonio , war memorials, and other sites of commemoration as “complex interrogative negotiations of trauma and its aftermath.” Life writing and medicine has been attracting increasing attention. Mita Banerjee’s Medical Humanities in American Studies is a representative example. 82

Trauma can also be collective and global, and life writing often proves to be a crucial factor in judgment and restitution. Kay Schaffer and Sidonie Smith’s Human Rights and Narrated Lives explores how personal narratives often serve as the chosen response to national violence and deliberate crimes against humanity. Meg Jensen and Margaretta Jolly’s edited collection We Shall Bear Witness , and Katja Kurz’s monograph Narrating Contested Lives , both of which appeared in 2014 , also discuss life writing in the context of human rights. Testimony against institutional abuse is the subject of Melissa Dearey’s Radicalization , and social movements such as Me Too and Black Lives Matter foreground life narrative as a strategy for opposing oppression and violence carried out by state agents and those invested in economic, political, or cultural dominance. Brittney Cooper and Treva B. Lindsey’s co-edited special issue of Biography , “M4BL and the Critical Matter of Black Lives,” combines theory and personal testimony in an innovative manner. 83

Are Life Narratives always Life Writing?

Many critical and theoretical works of the 21st century seem to leave the writing behind—a major reason life narrative is increasingly chosen as the covering term. While Marianne Hirsch’s Family Frames is one of the most important books on life writing for many reasons, her attention to the power of images on the understanding of the past, extending even to Art Spiegelman’s graphic memoir Maus , has been profoundly influential. By calling attention to the frequent disjunctions between text and photographs, Timothy Dow Adams’s Light Writing & Life Writing is also a transitional text of sorts, anticipating the emergence of comics and other visual and verbal hybrids as major sites for examining life representation. 84 “Autographics,” a Biography special issue co-edited by Gillian Whitlock and Anna Poletti, is one of many collections and monographs that explore how life narratives are embodied in comic and other graphic forms. Hillary Chute, a prolific editor, interviewer, archivist, critic, and theorist of comics, has published two monographs that document the intersections of comics, life writing, feminism, and history: Graphic Women and Disaster Drawn . 85 Michael A. Chaney’s Reading Lessons in Seeing , and his edited collection Graphic Subjects , are substantial contributions to theorizing the interplay between life writing and comics. Elisabeth El Refaie’s Autobiographical Comics is another extended study, and Candida Rifkind and Linda Warley’s co-edited collection Canadian Graphic is devoted to a single country’s comics life-writing production. 86

Critical and theoretical work on other hybrid genres includes Anna Poletti’s Intimate Ephemera , Ellen Gruber Garvey’s Writing with Scissors , and Hertha D. Sweet Wong’s Picturing Identity , which discusses forms ranging from book art to comics to sketch illustrations to geographic installations. Almost any life-writing analysis must now engage with the pervasiveness of visual representation, which can be recognized as having been an important component for many centuries as well. For instance, the texts examined in Leigh Gilmore and Elizabeth Marshall’s Witnessing Girlhood , a study of testimonial traditions that draws together gender, youth, and race, range from slave narratives and testimonio to comics and picture books. 87

Responding to the proliferation of critical and theoretical engagements across genres, media, and disciplines, in a special issue of Life Writing , and a subsequent book, co-editors David McCooey and Maria Takolander ask what “the limits of life writing,” if any, might be. Gillian Whitlock and G. Thomas Couser implicitly ask the same question in their co-edited Biography special issue entitled “(Post)Human Lives”; and in another Biography special issue, “Life Writing and Corporate Personhood,” co-editors Purnima Bose and Laura E. Lyons's examine how analogies to human life narratives pervade institutional and business self-promotion. Grounding lives in natural environments is the organizing principle for Alfred Hornung and Zhao Baisheng’s co-edited collection Ecology and Life Writing . 88 Just as trade publishers are labeling engaging narratives about anything from God to salt as biographies, so the critical concept of life writing is being stretched to contain virtually anything that presents or mimics a human story.

In terms of critical and theoretical attention, however, no medium for life narratives has been more immediately recognized in its emergence, or more closely examined, than what a pair of Biography special issues have identified as “Online Lives” and “Online Lives 2.0.” Anna Poletti and Julie Rak address the same phenomenon in their edited collection Identity Technologies: Constructing the Self Online . 89 The prevalence, and even dominance, of life narratives in online environments has caused critics and theorists to recalibrate their work to account for this migration and mediation. This is especially true for studies of young life writers. The title of Emma Maguire’s book Girls, Autobiography, Media: Gender and Self-Mediation in Digital Economies takes for granted that the narratives to be discussed will be online, and Kate Douglas and Anna Poletti’s Life Narratives and Youth Culture ranges from more traditional memoirs, letters, and diaries to social media. 90

Moving beyond the exclusively written has also revivified a longstanding awareness of biography as performance. Popular from film’s earliest days, the biopic has attracted substantial critical and theoretical attention. George Custen’s pathbreaking volume Bio/Pics: How Hollywood Constructed Public History was published in 1992 , and a Biography special issue entitled “The Biopic,” edited by Glenn Man, appeared in 2000 . Originally a special issue of a/b: Auto/Biography Studies , William H. Epstein and R. Barton Palmer’s co-edited Invented Lives, Imagined Communities dwells on the history and the cultural shaping force of film biographies. While providing a historical overview, Dennis Bingham’s massive Whose Lives Are They Anyway? focuses on post-World War II films, with a particular emphasis on biopics with women subjects. Tom Brown and Belén Vidal’s co-edited collection The Biopic in Contemporary Film Culture takes on a similar subject. 91 Biopic critics’ interest in actors and impersonation links their work to life-writing studies of performance. Ryan Claycomb’s Lives in Play argues that since the 1970s, life narratives have been central to the construction and performance of feminist theater. A special issue of LiNQ: Connected Writing and Scholarship entitled “Performing Lives” focuses upon the literal and metaphorical aspects of performance resulting from life writing’s migration “into other media including film, television, online, theatre, and the gallery.” Other scholars are studying those figures whose performance of their public identities led to great and enduring notoriety or acclaim. Clara Tuite’s Lord Byron and Scandalous Celebrity subordinates the events of Byron’s life to a study of the fascination he aroused, and continued to arouse, in the public. Daniel Herwitz discusses celebrity in The Star as Icon , and Katja Lee and Lorraine York tackle a similar subject in their co-edited collection Celebrity Cultures in Canada , though they restrict their stargazing to a single country. 92 Fan studies are an integral part of popular-culture scholarship, employing a vocabulary awash in terms such as idols, icons, influencers, and “reality” stars.

The quotation marks around “reality” point to a critical commonplace about life writing—that as acts of representation, such texts necessarily employ fictional materials and constructs. The veracity claims of life-writing texts, captured in a term like non-fiction, are always under scrutiny, and sometimes considered subordinate to concerns with aesthetics or craft—a belief expressed in the term “creative non-fiction.” Efforts to blur or eliminate the borders between fiction and non-fiction are often motivated by a desire to absorb life narratives back into the domain of literature, and principally prose fiction, where the commitment to art may require writers to remake historical fact or the contents of memory in response to the demands of form and aesthetics. Although Serge Doubrovsky is credited with coining the term “autofiction” in the 1970s to describe his own work, many critical and theoretical monographs treat this process as their principal concern, among them Max Saunders’s Self-Impression , and Gunnthórunn Gudmundsdóttir’s Representations of Forgetting in Life Writing and Fiction . Edited collections also address the significance of these generic boundaries. Chief among these is Martina Wagner-Egelhaaf’s three-volume Handbook of Autobiogography/Autofiction . In Life Writing and Literary Métissage as an Ethos of Our Times, Erika Hasebe-Ludt, Cynthia M. Chambers, and Carl Leggo suggest that the interplay between personal histories and aesthetics has a profound moral component, while the title Experiments in Life-Writing: Intersections of Auto/Biography and Fiction suggests where that volume’s editors consider the most interesting of those experiments to occur. A related juxtaposition appears in the title of Jean-Louis Jeannelle and Catherine Viollet’s co-edited volume Genèse et autofiction , and the title of Helena Grice’s Asian American Fiction, History, and Life Writing lays out a continuum of sorts. 93

The greatest champion for biofiction as a sub-discipline is critic and theorist Michael Lackey, who has written, edited, or co-edited numerous books and collections. 94 It is fair to say that those interested in biofiction are primarily concerned with how the historical is drawn into the literary, and that the resulting sub-genre’s appeal is not its historical veracity, but its enlistment of history and biography in the cause of literary aesthetics. One parallel but distinctly different area of interest regards the hoax life narrative. Susanna Egan’s Burdens of Proof evaluates a number of texts produced through literary imposture, and Nancy K. Miller’s “The Entangled Self” is an astute and suggestive discussion of the issue. 95

The discussion has travelled full circle—from a virtual abandonment of the desire to see life writing as literature, or even necessarily verbal, with a corresponding emphasis on the cultural, political, visual, or virtual, to a reassertion of literature, and more specifically prose fiction, as setting the highest and most appropriate standards for writers of historically and biographically informed creative prose. The journey itself, however, suggests just how capacious the term “life writing” has become.

Future Thoughts—Life, Biobits, and the Environment

Marlene Kadar argued in 1992 that life writing had to extend itself beyond genre to critical practice. 96 In the intervening years, the number of genres and sub-genres, the amount of critical and theoretical attention, and the variety of practices undertaken have increased at an accelerating rate. It seems appropriate to close with some observations about how rethinking certain components of life writing as understood, theorized, and practiced might lead to new directions and widened perspectives. Those components are the fundamental ones—“life” and “writing/narrative.” Lauren Berlant offers insights into the first, and Marlene Kadar the second. With Kadar again providing the enabling metaphor, the discussion will finally turn to what should be the next theoretical transition for life writing—from practice to environment.

After being invited to witness “Life Writing and Intimate Publics,” the 2010 International Auto/Biography Association conference held in Sussex, United Kingdom, Lauren Berlant was asked her opinion about how the participants had dealt not only with her famous term, but also with life writing, the organization’s reason for being. Berlant confessed she was “worried about the presumed self-evident value of bionarrative”:

I kept asking people to interrogate how the story of having a “life” itself coasts on a normative notion of human biocontinuity: what does it mean to have a life, is it always to add up to something? . . . To my ear, the genre of the “life” is a most destructive conventionalized form of normativity: when norms feel like laws, they constitute a sociology of the rules for belonging and intelligibility whose narrowness threatens people’s capacity to invent ways to attach to the world. 97

Berlant’s comment is very helpful, because it prompts us to look seriously at the “bio” of autobiography and biography, and at the “life” of life writing. She suggests locales where this interrogation is already underway:

Queer, socialist/anti-capitalist, and feminist work have all been about multiplying the ways we know that people have lived and can live, so that it would be possible to take up any number of positions during and in life in order to have “a life.” 98

Such work has expanded the range and value of life writing as a practice; an even stronger commitment to determining what is meant by “a life” can only lead to new possibilities for socially and politically engaged scholarship.

But Berlant is suspicious of “writing” as well, and not because the attention of so much scholarship has been redirected to graphic narratives, or online. Her concern about the “self-evident value of bionarrative” also suggests that replacing “life writing” with “life narrative” as the covering term might still set an uninterrogated limit on what we should be examining. Entertaining the possibility of “a biography of gesture, of interruption,” Berlant asks rhetorically “Shouldn’t life writing be a primary laboratory for theorizing ʻthe event’?” 99 Marlene Kadar argues that such theoretical practice is already happening. In her essay “The Devouring: Traces of Roma in the Holocaust,” she campaigns for including “the fragment and trace as member-genres in the taxonomy of auto/biographical practices” outlined in such theoretical works as her own “(flawed) 1992 definition of life-writing texts.” 100 Drawing upon Blanchot’s sense of the fragment as “an unfinished separation that is always reaching out for further interpretation,” Kadar suggests that when confronted with the near-erasure of all evidence that a life was ever lived, we can register affect even when lacking narrative. Any surviving evidence of a life can potentially express “more than what happened,” and anything that “helps us to understand what the particular event means to the subject, can be read as autobiographical.” Whether a song, a tattoo, an anecdote, or a name on a list, in its evocative yet resisting brevity, the fragment speaks of a life without providing even the outline of a realized narrative—“what it felt like, not exactly what it was like.” 101 Kadar therefore sets forth “the fragment and trace as genres that both contribute to our previous theorizations” of autobiography and life narrative, but “also as necessarily unfinished genres that call out to us to attempt to finish them”—often with important critical and political results. 102 One might add that, in discursive terms, the fragment or trace can be thought of as analogous to the morpheme—they are the smallest units recognizable as evidence of a life. With an embedded reference to virtual and online representation, these fragments and traces might be termed “biobits.”

The biobit would represent the micro limit of life writing theory; drawing upon but extending Kadar once more, one can suggest what the macro might be. In “Whose Life Is It Anyway? Out of the Bathtub and into the Narrative,” Kadar insists on the need to “theorize a new genre that still goes beyond and yet includes the old word [autobiography], the old gender, and the old style,” but will also “name what is now.” But this new genre must differ markedly from our common understanding, because “like water,” which “assumes the shape of the vessel” containing it, the nature of the contents of this new genre will not be determined or defined by the container. The “essence” of genre “can never really be captured.” 103 To elaborate on this thought, Kadar turns to a novel by Gail Scott. While most of the main character’s life takes place in a bathtub, we know that at some point she will have to leave it—a move that will carry her “Out of the Bathtub and into Narrative.” Life writing, then, is best thought of not as a container, a genre, or a practice, but to the greatest extent possible, as a component of uncontained water: an ocean, an environment in which micro biomass—biobits—coexists with the largest, most familiar, most coherent examples—the biographies and autobiographies, the autoethnographies and the biopics, the online presences and the comics. Though all are in some way engaged in and linked through bio-representation, only some are implicated in writing, or even in narrative.

If viewed in this way, all of life writing’s inherited genres and sub-genres remain useful and productive methods for describing, comparing, and acting. But it must always be remembered that neither genre nor practice is sufficient as a ground or container for theorizing what may still be called life writing or life narrative, but could perhaps be more accurately referred to as signs of life.

1. See Julie Rak, “Marlene Kadar’s Life Writing: Feminist Theory outside the Lines,” a/b: Auto/Biography Studies 33, no. 3 (2018): 541–549 ; Marlene Kadar, “Coming to Terms: Life Writing—From Genre to Critical Practice,” in Essays on Life Writing , ed. Marlene Kadar (Toronto: University of Toronto Press, 1992 ), 3–16, quotation at 4; and Donald J. Winslow, Life-Writing: A Glossary of Terms in Biography, Autobiography, and Related Forms , Biography Monographs (Honolulu: University of Hawaiʻi Press, 1980 ). Winslow’s book first appeared as Donald J. Winslow, “Glossary of Terms in Life Writing,” pts. 1 and 2, Biography: An Interdisciplinary Quarterly 1, no. 1 (1978): 61–78; and 1, no. 2 (1978): 61–85.

2. For the phrase “the New Critical wolf,” see Marlene Kadar, “Whose Life Is It Anyway? Out of the Bathtub and into the Narrative,” in Kadar, Essays on Life Writing , 152–161, at 154. For the other quotations, see Kadar, “Coming to Terms,” 4–6.

3. Kadar, “Coming to Terms,” 9.

4. Kadar, “Coming to Terms,” 10.

5. Kadar “Coming to Terms,” 12. Kadar notes that her argument here is informed by pp. 162–165 of Elizabeth Fox-Genovese, “To Write My Self: The Autobiographies of Afro-American Women,” in Feminist Issues in Literature Scholarship , ed. Shari Benstock (Bloomington: Indiana University Press, 1987 ), 161–180.

6. James Olney, “Autobiography and the Cultural Moment: A Thematic, Historical, and Bibliographical Introduction,” in Autobiography: Essays Theoretical and Critical , ed. James Olney (Princeton, NJ: Princeton University Press, 1980 ), 3–27.

7. For a sampling of such texts, see Lytton Strachey, Eminent Victorians , reprinted ed. (London: Penguin, 1990 ; 1st ed. 1918); Harold Nicolson, The Development of English Biography (London: Hogarth Press, 1928 ); Leon Edel, Writing Lives: Principia Biographica (New York: Norton, 1987 ); and Ira Bruce Nadel, Biography: Fiction, Fact and Form (New York: St. Martin’s Press, 1984 ). For a post-structuralist approach to biography, see William H. Epstein, ed., Contesting the Subject: Essays in the Postmodern Theory and Practice of Biography and Biographical Criticism (West Lafayette, IN: Purdue University Press, 1991 ).

8. James Olney, Metaphors of Self: The Meaning of Autobiography (Princeton, NJ: Princeton University Press, 1972 ).

9. Ricia Anne Chansky, “General Introduction,” in The Routledge Auto/Biography Studies Reader , eds. Ricia Anne Chansky and Emily Hipchen (London and New York: Routledge, 2016 ), xx–xxii, quotations at xx and xxi.

10. Sidonie Smith, “Foreword,” in Chansky and Hipchen, The Routledge Auto/Biography Studies Reader , xvii–xix, at xviii.

11. Sidonie Smith and Julia Watson, Women, Autobiography, Theory: A Reader (Madison: University of Wisconsin Press, 1998 ).

12. See, for example, Paul de Man, “Autobiography as De-Facement,” Modern Language Notes 94, no. 5 (1979) : 919–930; and Roland Barthes, Roland Barthes by Roland Barthes , trans. Richard Howard (New York: Hill and Wang, 1977 ).

13. Philippe Lejeune, “The Autobiographical Pact,” in On Autobiography , by Philippe Lejeune, trans. Katherine Leary, with a foreword by Paul John Eakin (Minneapolis: University of Minnesota Press, 1989), 3–30 (the essay was originally published in French in 1977); Paul John Eakin, Fictions of Autobiography: Studies in the Art of Self-Invention (Princeton, NJ: Princeton University Press, 1985) ; and Paul John Eakin, Touching the World: Reference in Autobiography (Ithaca, NY: Princeton University Press, 1992) .

14. Sidonie Smith, A Poetics of Women’s Autobiography: Marginality and the Fictions of Self-Representation (Bloomington: Indiana University Press, 1987) ; and Sidonie Smith and Julia Watson, eds., De/Colonizing the Subject: The Politics of Gender in Women’s Autobiography (Minneapolis: University of Minnesota Press, 1992) .

15. For works by the authors and editors mentioned in this paragraph, see the “Further Reading” section.

16. Margaretta Jolly, ed., Encyclopedia of Life Writing: Autobiographical and Biographical Forms , 2 vols. (London: Fitzroy Dearborn, 2001) , quotations at ix and x.

17. Jolly, Encyclopedia , ix, x; and Sidonie Smith and Julia Watson, eds., Getting a Life: Everyday Uses of Autobiography (Minneapolis: University of Minnesota Press, 1996) .

18. Jolly, Encyclopedia , ix, x.

19. Sidonie Smith and Julia Watson, Reading Autobiography: A Guide for Interpreting Life Narratives , 2nd ed. (Minneapolis: University of Minnesota Press, 2010) , 2. The first edition was published in 2001; for convenience this article quotes from the second edition.

20. Smith and Watson, Reading Autobiography , 3, 4.

21. Smith and Watson, Reading Autobiography , 211, citing Smith and Watson, Women, Autobiography, Theory .

22. Smith and Watson, Reading Autobiography , 211.

23. Smith and Watson, Reading Autobiography , 204–205.

24. Smith and Watson, Reading Autobiography , 214. The works they mention are: Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (London and New York: Routledge, 1990) ; Judith Butler, Bodies that Matter: On the Discursive Limits of “Sex” (London and New York: Routledge, 1993) ; and Sidonie Smith, Subjectivity, Identity, and the Body: Women’s Autobiographical Practices in the Twentieth Century (Bloomington: Indiana University Press, 1993) .

25. Smith and Watson, Reading Autobiography , 216. They cite John Paul Eakin, How Our Lives Become Stories: Making Selves (Ithaca, NY: Cornell University Press, 1999) ; and Nancy K. Miller, “Representing Others: Gender and the Subjects of Autobiography,” Differences 6, no. 1 (1994) : 1–27.

26. Smith and Watson, Reading Autobiography , 215.

27. Smith and Watson, Reading Autobiography , 218.

28. Smith and Watson, Reading Autobiography , 234. Their Appendix A is at 253–286.

29. Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977) , pp. 121–126. There isn’t a citation for Kadar—that’s me saying she would agree with Williams on this. The Williams distinction is a commonplace by now.

30. Kadar, “Coming to Terms,” 10.

31. I have written at some length about this in relation to Renders and De Haan and the Biographers International Organization, with particular attention paid to Biography: An Interdisciplinary Quarterly , which I co-edit; the University of Hawaiʻi at Mānoa’s Center for Biographical Research, which I direct; and the International Auto/Biography Association-Listserv, which I manage. See Craig Howes, “What Are We Turning From? Research and Ideology in Biography and Life Writing,” in The Biographical Turn: Lives in History , eds. Hans Renders, Binne de Haan, and Jonne Harmsma (London and New York: Routledge, 2016) , 165–175.

32. Hans Renders, “Biography in Academia and the Critical Frontier in Life Writing,” in Theoretical Discussions of Biography: Approaches from History, Microhistory, and Life Writing , eds. Hans Renders and Binne de Haan (Leiden: Brill, 2013) , 169–176, at 169. Michael Holroyd, “Changing fashions in biography,” The Guardian , 6 November 2009 .

33. Renders, “Biography in Academia,” 172.

34. Renders, “Biography in Academia,” 172.

35. For a more detailed account of this suspicion, see Craig Howes, “Ethics and Literary Biography,” in A Companion to Literary Biography , ed. Richard Bradford (Chichester: Wiley Blackwell, 2018) , 123–142. It should be noted that while they may share an aversion to criticism and theory, if anything, literary artists often have a greater contempt for biographers.

36. Julie Rak, Boom! Manufacturing Memoir for the Popular Market (Waterloo, Canada: Wilfrid Laurier University Press, 2013) , quotations at 4 and 3; and Julie Rak, ed., “Pop Life,” special issue, Canadian Review of American Studies 38, no. 3 (2008) .

37. Leigh Gilmore, Tainted Witness: Why We Doubt What Women Say About Their Lives (New York: Columbia University Press, 2017) .

38. Nigel Hamilton, Biography: A Brief History (Cambridge, MA: Harvard University Press, 2007) ; Hermione Lee, Biography: A Very Short Introduction (Oxford: Oxford University Press, 2009) ; Andrew Brown, A Brief History of Biographies: From Plutarch to Celebs (London: Hesperus, 2011) ; Catherine N. Parke, Biography: Writing Lives; Themes and Genres . Twayne's Studies in Literary Themes and Genres (London and New York: Routledge, 1996) ; and Paula R. Backscheider, Reflections on Biography (Oxford: Oxford University Press, 1999) .

39. Carl Rollyson, Biography: An Annotated Bibliography (Pasadena, CA: Salem, 1992) . Among Rollyson’s many other works are: Carl Rollyson, Reading Biography (Lincoln, NE: iUniverse, 2004) ; Carl Rollyson, A Higher Form of Cannibalism? Adventures in the Art and Politics of Biography (Chicago: Ivan R. Dee, 2005) ; and Carl Rollyson, Confessions of a Serial Biographer (Jefferson NC: McFarland, 2016) .

40. Carl Rollyson, Biography: A User’s Guide (Chicago: Ivan R. Dee, 2008) ; and Nigel Hamilton and Hans Renders, The ABC of Modern Biography (Amsterdam: Amsterdam University Press, 2018) .

41. Edel, Writing Lives ; Michael Holroyd, Works on Paper: The Craft of Biography and Autobiography (Berkeley: Counterpoint, 2002) ; Rollyson, Confessions ; Nigel Hamilton, How To Do Biography: A Primer (Cambridge, MA: Harvard University Press, 2008) ; and Hamilton, Biography .

42. John Batchelor, ed., The Art of Literary Biography (Oxford: Clarendon, 1995) ; Warwick Gould and Thomas F. Staley, eds., Writing the Lives of Writers (London: Palgrave Macmillan, 1998) ; Robert Dion and Frédéric Regard, eds., Les nouvelles écritures biographiques (Lyon: ENS Éditions, 2013) ; and Richard Bradford, ed., A Companion to Literary Biography (Chichester: Wiley Blackwell, 2019) . My essay “Ethics and Literary Biography” appears in Bradford’s collection.

43. Michael Benton, Towards a Poetics of Literary Biography (London: Palgrave Macmillan, 2015) ; Rana Tekcan, Too Far for Comfort: A Study on Biographical Distance (Stuttgart: Ibidem, 2015) ; and Alison Booth, How to Make It as a Woman: Collective Biographical History from Victoria to the Present (Chicago: University of Chicago Press, 2004) . She mentions her reservations at 130.

44. Barbara Caine, Biography and History (London: Palgrave Macmillan, 2010) ; Hans Renders and Binne de Haan, eds., Theoretical Discussions of Biography: Approaches from History, Microhistory, and Life Writing (Leiden: Brill, 2013) ; Renders, de Haan, and Harmsma, The Biographical Turn ; and Tanya Evans and Robert Reynolds, “Introduction to this Special Issue on Biography and Life-Writing,” disclosure 21 (2012) : 1–8.

45. Atiba Pertilla and Uwe Spiekermann, eds., “Forum: The Challenge of Biography,” special section, Bulletin of the German Historical Institute 55 (2014) ; and Sarah Panter, ed., Mobility and Biography , Jahrbuch für Europäische Geschichte / European History Yearbook 16 (Berlin: De Gruyter, 2015) .

46. Tomas Hägg, The Art of Biography in Antiquity (Cambridge: Cambridge University Press, 2012) ; Stephanos Efthymiadis, ed., The Ashgate Research Companion to Byzantine Hagiography , vol. 2, Genres and Contexts (Farnham, Surrey: Ashgate, 2014) ; Kevin Sharpe and Steven N. Zwicker, eds., Writing Lives: Biography and Textuality, Identity and Representation in Early Modern England (Oxford: Oxford University Press, 2009) ; Sarah Mombert and Michèle Rosellini, eds., Usages des vies: Le biographique hier et aujourd’hui (XVIIe–XXIe siècle) (Toulouse: Presses Universitaires du Mirail, 2012) ; and Juliette Atkinson, Victorian Biography Reconsidered: A Study of Nineteenth-Century “Hidden” Lives (Oxford: Oxford University Press, 2010) .

47. Examples of such work include: Robin Humphrey, Robert Miller, and Elena Zdravomyslova, eds., Biographical Research in Eastern Europe: Altered Lives and Broken Biographies (Farnham, Surrey: Ashgate, 2003) ; Erla Hulda Halldórsdóttir et al., eds., Biography, Gender and History: Nordic Perspectives (Turku: K&H, 2017) ; and Maarit Leskelä-Kärki, Toisten elämät: Kirjoituksia elämäkerroista (Avain, 2017) .

48. Wilhelm Hemecker, ed., Die Biographie—Beiträge zu ihrer Geschichte (Berlin: De Gruyter, 2009) ; Wilhelm Hemecker and Edward Saunders, eds., with Gregor Schima, Biography in Theory: Key Texts with Commentaries (Berlin: De Gruyter, 2018) ; Bernhard Fetz and Wilhelm Hemecker, eds., Theorie der Biographie: Grundlagentexte und Kommentar (Berlin: De Gruyter, 2011) ; and Bernhard Fetz, ed., Die Biographie—Zur Grundlegung ihrer Theorie (Berlin: De Gruyter, 2009) . All these except the Hemecker and Saunders volume were published by De Gruyter on behalf of the Ludwig Boltzmann Institute.

49. Marta Dvorak, ed., Biographical Creation / La création biographique (Rennes: Presses Universitaires Rennes, 1997) .

50. Susan Tridgell, Understanding Our Selves: The Dangerous Art of Biography (New York: Peter Lang, 2004) ; and Caitríona Ní Dhúill, Metabiography: Reflecting on Biography , Palgrave Studies in Life Writing (London: Palgrave, 2020) .

51. Alan C. Elms, Uncovering Lives: The Uneasy Alliance of Biography and Psychology (Oxford: Oxford University Press, 1994) ; William Todd Schultz, ed., Handbook of Psychobiography (Oxford: Oxford University Press, 2005) ; and Dan P. McAdams, The Redemptive Self: Stories Americans Live By (Oxford: Oxford University Press, 2005) .

52. See, for example, Carolyn L. White, ed., The Materiality of Individuality: Archaeological Studies of Individual Lives (New York: Springer, 2009) ; Ann L. W. Stodder and Ann M. Palkovich, eds., The Bioarchaeology of Individuals (Gainesville: University Press of Florida, 2012) ; Michaela Köttig et al., eds., “Biography and Ethnicity,” special issue, Forum: Qualitative Social Research 10, no. 3 (2009) ; and Sophie Day Carsten and Charles Stafford, eds., “Reason and Passion: The Parallel Worlds of Ethnography and Biography,” special issue, Social Anthropology 26, no. 1 (2018) : 5–14.

53. Alice Te Punga Somerville, Daniel Heath Justice, and Noelani Arista, eds., “Indigenous Conversations about Biography,” special issue, Biography: An Interdisciplinary Quarterly 39, no. 3 (2016) : 239–247; Noenoe K. Silva, The Power of the Steel-Tipped Pen: Reconstructing Native Hawaiian Intellectual History (Durham, NC: Duke University Press, 2017) ; Melanie Unseld, Biographie und Musikgeschichte: Wandlungen biographischer Konzepte in Musikkultur und Musikhistoriographie (Cologne: Böhlau, 2014) ; and Anna Jackson, ed., “The Verse Biography,” special issue, Biography: An Interdisciplinary Quarterly 39, no. 1 (Winter 2016) .

54. Alice Te Punga Somerville and Daniel Heath Justice, “Introduction: Indigenous Conversations about Biography,” Biography: An Interdisciplinary Quarterly 39, no. 3 (2016) : 239–247, at 243.

55. Peter Ackroyd, London: The Biography (London: Chatto and Windus, 2000) ; Peter Ackroyd, London: The Concise Biography (London: Vintage, 2012) ; Rachel Hewitt, Map of a Nation: A Biography of the Ordnance Survey (London: Granta, 2011) ; and Kaori O’Connor, The English Breakfast: The Biography of a National Meal, with Recipes , rev. ed. (London: Bloomsbury, 2013) .

56. Linda Anderson, Autobiography , 2nd ed. (London and New York: Routledge, 2010 ; 1st ed. 2001); Laura Marcus, Autobiography: A Very Short Introduction (Oxford: Oxford University Press, 2018) ; Chansky and Hipchen, The Routledge Auto/Biography Studies Reader ; and Kate Douglas and Ashley Barnwell, eds., Research Methodologies for Auto/Biography Studies (London: Routledge, 2019) .

57. Carole Allamand, Le “Pacte” de Philippe Lejeune; ou, L’autobiographie en théorie (Paris: Honoré Champion, 2018) ; Lia Nicole Brozgal, Against Autobiography: Albert Memmi and the Production of Theory (Lincoln: University of Nebraska Press, 2018) ; Kathleen Ashley, et al., eds., Autobiography and Postmodernism (Amherst: University of Massachusetts Press, 1995) ; G. Thomas Couser and Joseph Fichtelberg, eds., True Relations: Essays on Autobiography and the Postmodern (Westport, CN: Greenwood, 1998) ; and Gunnthórunn Gudmundsdóttir, Borderlines: Autobiography and Fiction in Postmodern Life Writing (Amsterdam: Rodopi, 2003) .

58. For examples of such historical and geographical investigations, see Carsten Heinze and Alfred Hornung, eds., Medialisierungsformen des (Auto-) Biografischen (Konstanz: UVK, 2013) ; Ronald Bedford, Lloyd Davis, and Philippa Kelly, eds., Early Modern Autobiography: Theories, Genres, Practices (Ann Arbor: University of Michigan Press, 2006) ; Ronald Bedford, Lloyd Davis, and Philippa Kelly, Early Modern English Lives: Autobiography and Self-Representation, 1500–1660 (Farnham, Surrey: Ashgate, 2007) ; and Arianne Baggerman, Rudolf Dekker, and Michael Mascuch, eds., Controlling Time and Shaping the Self: Developments in Autobiographical Writing since the Sixteenth Century (Leiden: Brill, 2011) .

59. William L. Andrews, To Tell a Free Story: The First Century of African-American Autobiography, 1760–1865 (Urbana: University of Illinois Press, 1986); and William L. Andrews, Slavery and Class in the American South: A Generation of Slave Narrative Testimony , 1840–1865 (Oxford: Oxford University Press, 2019) .

60. Rachel McLennan, American Autobiography (Edinburgh: Edinburgh University Press, 2012) . Georges Gusdorf “Conditions and Limits of Autobiography,” pp. 28–48.

61. Eakin, How Our Lives Become Stories ; Paul John Eakin, Living Autobiographically: How We Create Identity in Narrative (Ithaca, NY: Cornell University Press, 2008) ; and Richard Freadman, Threads of Life: Autobiography and the Will (Chicago: University of Chicago Press, 2001) .

62. Liz Stanley, The Auto/Biographical I: The Theory and Practice of Feminist Auto/Biography (Manchester: Manchester University Press, 1992) ; Laura Marcus, Auto/Biographical Discourses: Theory, Criticism, Practice (Manchester: Manchester University Press, 1994) ; Trev Broughton and Linda Anderson, eds., Women’s Lives/Women’s Times: New Essays on Auto/Biography (New York: SUNY Press, 1997) ; Hélène Cixous and Mireille Calle-Gruber, Rootprints: Memory and Life-Writing , trans. Eric Prenowitz (London and New York: Routledge, 1997) ; and Jill Ker Conway, When Memory Speaks: Reflections on Autobiography (New York: Knopf, 1998) .

63. Florence S. Boos, Memoirs of Victorian Working-Class Women: The Hard Way Up , Palgrave Studies in Life Writing (London: Palgrave Macmillan, 2017) ; Laura J. Beard, Acts of Narrative Resistance: Women’s Autobiographical Writings in the Americas (Charlottesville: University of Virginia Press, 2009) ; Marilyn Booth, ed., “Women’s Autobiography in South Asia and the Middle East,” special issue, Journal of Women’s History 25, no. 2 (2013) ; Kathryn Abrams and Irene Kacandes, eds., “Witness,” special issue, Women’s Studies Quarterly 36, nos. 1–2 (2008) : 13–27; Gillian Whitlock, Soft Weapons: Autobiography in Transit (Chicago: University of Chicago Press, 2007) ; and Gilmore, Tainted Witness .

64. Cynthia Franklin and Laura E. Lyons, eds., “Personal Effects: The Testimonial Uses of Life Writing,” special issue, Biography: An Interdisciplinary Quarterly 27, no. 1 (2004) ; Marlene Kadar et al., eds., Tracing the Autobiographical (Waterloo, Canada: Wilfrid Laurier University Press, 2005) ; Leigh Gilmore, The Limits of Autobiography: Trauma, Testimony, Theory (Ithaca, NY: Cornell University Press, 2000) ; and Paul Atkinson and Anna Poletti, eds., “The Limits of Testimony,” special issue, Southern Review: Communication, Politics & Culture 40, no. 3 (2008) .

65. G. Thomas Couser, Memoir: An Introduction (Oxford: Oxford University Press, 2012) ; Ben Yagoda, Memoir: A History (New York: Riverhead Penguin, 2009) ; and Bunty Avieson, Fiona Giles, and Sue Joseph, eds., Mediating Memory: Tracing the Limits of Memoir (London and New York: Routledge, 2018) .

66. Philippe Lejeune, On Diary , trans. Kathy Durnin, ed. Jeremy D. Popkin and Julie Rak (Honolulu: University of Hawai‘i Press, 2009) ; Lejeune, On Autobiography ; Françoise Simonet-Tenant, Le journal intime: Genre littéraire et écriture ordinaire (Paris: Téraèdre, 2004) ; and Suzanne L. Bunkers and Cynthia A. Huff, eds., Inscribing the Daily: Critical Essays on Women’s Diaries (Amherst: University of Massachusetts Press, 1996) .

67. Kadar, “Coming to Terms.”

68. Zachary Leader, ed., On Life-Writing (Oxford: Oxford University Press, 2015) ; Richard Bradford, ed., Life Writing: Essays on Autobiography, Biography and Literature (London: Palgrave Macmillan, 2009) ; Sidonie Smith and Julia Watson, Life Writing in the Long Run: A Smith & Watson Autobiography Studies Reader (Ann Arbor: Maize Books, 2017) ; Liz Stanley, ed., Documents of Life Revisited: Narrative and Biographical Methodology for a 21st Century Critical Humanism (Farnham, Surrey: Ashgate, 2013) ; Liz Stanley, ed., “In Dialogue: Life Writing and Narrative Inquiry,” special issue, Life Writing 7, no. 1 (2010) : 1–3; and James Olney, Memory and Narrative: The Weave of Life-Writing (Chicago: University of Chicago Press, 1999) .

69. Miriam Fuchs and Craig Howes, eds., Teaching Life Writing Texts , Options for Teaching (New York: Modern Language Association, 2008) ; Laurie McNeill and Kate Douglas, eds., “Teaching Lives: Contemporary Pedagogies of Life Narratives,” special issue, a/b: Auto/Biography Studies 32, no. 1 (2016) ; Laurie McNeill and Kate Douglas, eds., Teaching Lives: Contemporary Pedagogies of Life Narratives (London and New York: Routledge, 2018 ); Dennis Kersten and Anne Marie Mreijen, eds., “Teaching Life Writing Texts in Europe,” special section, European Journal of Life Writing 4 (2015) ; and Dennis Kersten, Anne Marie Mreijen, and Yvonne Delhey, eds., “Teaching Life Writing Texts in Europe, Part II,” special section, European Journal of Life Writing 7 (2018) .

70. Penny Summerfield, Histories of the Self: Personal Narratives and Historical Practice (London and New York: Routledge, 2018) ; Karen A. Winstead, The Oxford History of Life-Writing , vol. 1, The Middle Ages (Oxford: Oxford University Press, 2018) ; Alan Stewart, The Oxford History of Life-Writing , vol. 2, Early Modern (Oxford: Oxford University Press, 2018) ; David Amigoni, ed., Life Writing and Victorian Culture (Farnham, Surrey: Ashgate, 2006) ; Andrew Tate, ed., “Victorian Life Writing,” special issue, Nineteenth-Century Contexts 28, no. 1 (2006) : 1–3; and Lynn M. Linder, ed., “Co-Constructed Selves: Nineteenth-Century Collaborative Life Writing,” special issue, Modern Language Studies 52, no. 2 (2016) : 121–129.

71. Danielle Boillet, Marie-Madeleine Fragonard, and Hélène Tropé, eds., Écrire des vies: Espagne, France, Italie, XVIe–XVIIIe siècle (Paris: Sorbonne Nouvelle, 2012) ; and Birgit Dahlke, Dennis Tate, and Roger Woods, eds., German Life Writing in the Twentieth Century (Rochester, NY: Camden House, 2010) .

72. Cynthia Huff, ed., “Women’s Life Writing and Imagined Communities,” special issue, Prose Studies 26, nos. 1–2 (2003) ; Charlotte Newman Goldy and Amy Livingstone, eds., Writing Medieval Women’s Lives (London: Palgrave Macmillan, 2012 ); Julie A. Eckerle, Romancing the Self in Early Modern Englishwomen’s Life Writing (Farnham, Surrey: Ashgate, 2013) ; Julie A. Eckerle and Naomi McAreavey, eds., Women’s Life Writing and Early Modern Ireland , Women and Gender in the Early Modern World (Lincoln: University of Nebraska Press, 2019) ; Daniel Cook and Amy Culley, eds., Women’s Life Writing , 1700–1850: Gender, Genre and Authorship (London: Palgrave Macmillan, 2012) ; and Amy Culley, British Women’s Life Writing , 1760–1840: Friendship, Community, and Collaboration (London: Palgrave Macmillan, 2014) .

73. Susan Civale, Romantic Women’s Life Writing: Reputation and Afterlife (Manchester: Manchester University Press, 2019) ; Alexis Wolf, “Introduction: Reading Silence in the Long Nineteenth-Century Women’s Life Writing Archive,” 19: Interdisciplinary Studies in the Long Nineteenth Century 27 (2018) : unpaginated; Valérie Baisnée-Keay et al., eds., Women’s Life Writing and the Practice of Reading: She Reads to Write Herself , Palgrave Studies in Life Writing (London: Palgrave Macmillan, 2018) ; and Margaretta Jolly, In Love and Struggle: Letters in Contemporary Feminism (New York: Columbia University Press, 2008) .

74. Eric D. Lamore, ed., “African American Life Writing,” special issue, a/b: Auto/Biography Studies 27, no. 1 (2012) ; Viola Amato, Intersex Narratives: Shifts in the Representation of Intersex Lives in North American Literature and Popular Culture (Bielefeld: Transcript Verlag, 2016) ; and Katherine Adams, Owning Up: Privacy, Property, and Belonging in U.S. Women’s Life Writing (Oxford: Oxford University Press, 2009) .

75. Marijke Huisman et al., eds., Life Writing Matters in Europe , American Studies Monograph 217 (Heidelberg: Universitätsverlag Winter, 2012) ; Simona Mitroiu, ed., Life Writing and Politics of Memory in Eastern Europe (London: Palgrave Macmillan, 2015) ; and Iona Luca and Leena Kurvet-Käosaar, eds., “Life Writing Trajectories in Post-1989 Eastern Europe,” special section, European Journal of Life Writing 2 (2013) : T1–9.

76. Oliver Nyambi, Life-Writing from the Margins in Zimbabwe: Versions and Subversions of Crisis (London and New York: Routledge, 2019) ; David McCooey, Artful Histories: Modern Australian Autobiography (Cambridge: Cambridge University Press, 1996) ; Jack Bowers, Strangers at Home: Place, Belonging, and Australian Life Writing (Amherst, NY: Cambria, 2016) ; Brij V. Lal and Peter Hempenstall, eds., Pacific Lives, Pacific Places: Bursting Boundaries in Pacific History (Canberra: Journal of Pacific History, 2001) ; Jack Corbett and Brij V. Lal, eds., Political Life Writing in the Pacific: Reflections on Practice (Canberra: Australian National University Press, 2015) ; and Roxanna Waterson, ed., Southeast Asian Lives: Personal Narratives and Historical Experience (Athens: Ohio University Press, 2007) .

77. Hephzibah Israel and John Zavos, “Narratives of Transformation: Religious Conversion and Indian Traditions of ‘Life Writing,’” South Asia: Journal of South Asian Studies 41, no. 2 (2018) : 352–365; S. Shankar and Charu Gupta, “Caste and Life Narratives,” special issue, Biography: An Interdisciplinary Quarterly 40, no. 1 (2017) ; and Maureen Perkins, ed., Locating Life Stories: Beyond East-West Binaries in (Auto)Biographical Studies (Honolulu: University of Hawaiʻi Press, 2012) . My own essay on Martin Amis appears in this last collection.

78. Bart Moore-Gilbert, Postcolonial Life-Writing: Culture, Politics, and Self-Representation (London and New York: Routledge, 2009) ; Philip Holden, Autobiography and Decolonization: Modernity, Masculinity, and the Nation-State (Madison: University of Wisconsin Press, 2008) ; Gillian Whitlock, Postcolonial Life Narratives: Testimonial Transactions (Oxford: Oxford University Press, 2015) ; Suzanne Scafe and Jenni Ramone, eds., “Women’s Life Writing and Diaspora,” special issue, Life Writing 10, no. 1 (2013) : 1–3; Rocío G. Davis, Jaume Aurell, and Ana Beatriz Delgado, eds., Ethnic Life Writing and Histories: Genres, Performance, and Culture (Münster: LIT Verlag, 2007) ; and Rosalia Baena, ed., Transculturing Auto/Biography: Forms of Life Writing (London and New York: Routledge, 2007) .

79. Clare Brant and Max Saunders, eds., “The Work of Life Writing,” special issue, a/b: Auto/Biography Studies 25, no. 2 (2010) ; Paul John Eakin, ed., The Ethics of Life Writing (Ithaca, NY: Cornell University Press, 2004) ; David Parker, The Self in Moral Space: Life Narrative and the Good (Ithaca, NY: Cornell University Press, 2007) ; D. L. LeMahieu and Christopher Cowley, eds., “Philosophy and Life Writing,” special issue, Life Writing 15, no. 3 (2018) : 301–303; Rocío G. Davis, ed., “Life Writing as Empathy,” special issue, Concentric: Literary and Cultural Studies 42, no. 2 (2016) ; and Joan Ramon Resina, ed., Inscribed Identities: Life Writing as Self-Realization (London and New York: Routledge, 2019) .

80. G. Thomas Couser, Recovering Bodies: Illness, Disability, and Life Writing (Madison: University of Wisconsin Press, 1997) ; G. Thomas Couser, Vulnerable Subjects: Ethics and Life Writing (Ithaca, NY: Cornell University Press, 2003) ; G. Thomas Couser, Signifying Bodies: Disability in Contemporary Life Writing (Ann Arbor: University of Michigan Press, 2009) ; G. Thomas Couser, ed., “Disability and Life Writing,” special issue, Journal of Literary and Cultural Disability Studies 5, no. 3 (2011) ; G. Thomas Couser, ed., Body Language: Narrating Illness and Disability (London and New York: Routledge, 2019) ; and G. Thomas Couser and Susannah Mintz, eds., Disability Experiences: Memoirs, Autobiographies, and Other Personal Narratives , 2 vols. (Detroit: St. James Press, 2019) .

81. Suzette A. Henke, Shattered Subjects: Trauma and Testimony in Women’s Life-Writing (New York: St. Martin’s Press, 1998) ; Susanna Egan, Mirror Talk: Genres of Crisis in Contemporary Autobiography (Chapel Hill: University of North Carolina Press, 1999) ; Miriam Fuchs, The Text is Myself: Women’s Life Writing and Catastrophe (Madison: University of Wisconsin Press, 2004) ; Gilian Whitlock and Kate Douglas, eds., Trauma Texts (London and New York: Routledge, 2015) , first published as “Trauma in the Twenty-First Century,” Life Writing 5, no. 1 (2008); and Gabriele Rippl et al., eds., Haunted Narratives: Life Writing in an Age of Trauma (Toronto: University of Toronto Press, 2013) .

82. Meg Jensen, The Art and Science of Trauma and the Autobiographical: Negotiated Truths , Palgrave Studies in Life Writing (London: Palgrave, 2019) , quotation at 8; and Mita Banerjee, Medical Humanities in American Studies: Life Writing, Narrative Medicine, and the Power of Autobiography , American Studies Series 292 (Heidelberg: Universitätsverlag Winter, 2018) .

83. Kay Schaffer and Sidonie Smith, Human Rights and Narrated Lives: The Ethics of Recognition (London: Palgrave, 2004) ; Meg Jensen and Margaretta Jolly, eds., We Shall Bear Witness: Life Narratives and Human Rights (Madison: University of Wisconsin Press, 2014) ; Katja Kurz, Narrating Contested Lives: The Aesthetics of Life Writing in Human Rights Campaigns (Heidelberg: Universitätsverlag Winter, 2014) ; Melissa Dearey, Radicalization: The Life Writings of Political Prisoners (London and New York: Routledge, 2010) ; and Brittney Cooper and Treva B. Lindsey, eds., “M4BL and the Critical Matter of Black Lives,” special issue, Biography: An Interdisciplinary Quarterly 41, no. 4 (2018) : 731–740.

84. Marianne Hirsch, Family Frames: Photography, and Postmemory (Cambridge, MA: Harvard University Press, 1997) ; and Timonthy Dow Adams, Light Writing & Life Writing: Photography in Autobiography (Chapel Hill: University of North Carolina Press, 1999) .

85. Gillian Whitlock and Anna Poletti, eds., “Autographics,” special issue, Biography: An Interdisciplinary Quarterly 31, no. 1 (2008) ; Hillary L. Chute, Graphic Women: Life Narrative and Contemporary Comics (New York: Columbia University Press, 2010) ; and Hillary L. Chute, Disaster Drawn: Visual Witness, Comics, and Documentary Form (Cambridge MA.: Belknap Press of Harvard University Press, 2016) .

86. Michael A. Chaney, Reading Lessons in Seeing: Mirrors, Masks, and Mazes in the Autobiographical Graphic Novel (Jackson: University of Mississippi Press, 2017) ; Michael A. Chaney, ed., Graphic Subjects: Critical Essays on Autobiography and Graphic Novels (Madison: University of Wisconsin Press, 2011) ; Elisabeth El Refaie, Autobiographical Comics: Life Writing in Pictures (Jackson: University Press of Mississippi, 2012) ; and Candida Rifkind and Linda Warley, eds., Canadian Graphic: Picturing Life Narratives (Waterloo, Canada: Wilfrid Laurier University Press, 2016) .

87. Anna Poletti, Intimate Ephemera: Reading Young Lives in Australian Zine Culture (Melbourne: Melbourne University Press, 2008) ; Ellen Gruber Garvey, Writing with Scissors: American Scrapbooks from the Civil War to the Harlem Renaissance (Oxford: Oxford University Press, 2012) ; Hertha D. Sweet Wong, Picturing Identity: Contemporary American Autobiography in Image and Text (Chapel Hill: University of North Carolina Press, 2018) ; and Leigh Gilmore and Elizabeth Marshall, Witnessing Girlhood: Toward an Intersectional Tradition of Life Writing (New York: Fordham University Press, 2019) .

88. David McCooey and Maria Takolander, eds., “The Limits of Life Writing,” special issue, Life Writing 14, no. 3 (2017) ; David McCooey and Maria Takolander, eds., The Limits of Life Writing (London and New York: Routledge, 2018) ; Gillian Whitlock and G. Thomas Couser, eds., “(Post)Human Lives,” special issue, Biography: An Interdisciplinary Quarterly 35, no. 1 (2012) ; Purnima Bose and Laura E. Lyons, eds., “Life Writing and Corporate Personhood,” special issue, Biography: An Interdisciplinary Quarterly 37, no. 1 (2014) ; and Alfred Hornung and Zhao Baisheng, eds., Ecology and Life Writing (Heidelberg: Universitätsverlag Winter, 2013) .

89. John Zuern, ed., “Online Lives,” special issue, Biography: An Interdisciplinary Quarterly 26, no. 1 (2003) ; Laurie McNeill and John Zuern, eds., “Online Lives 2.0,” special issue, Biography: An Interdisciplinary Quarterly 38, no. 2 (2015) ; and Anna Poletti and Julie Rak, eds., Identity Technologies: Constructing the Self Online (Madison: University of Wisonsin Press, 2014) .

90. Emma Maguire, Girls, Autobiography, Media: Gender and Self-Mediation in Digital Economies , Palgrave Studies in Life Writing (London: Palgrave, 2018) ; and Kate Douglas and Anna Poletti, Life Narratives and Youth Culture: Representation, Agency and Participation (London: Palgrave Macmillan, 2016) .

91. George F. Custen, Bio/Pics: How Hollywood Constructed Public History (New Brunswick, NJ: Rutgers University Press, 1992) ; Glenn Man, ed., “The Biopic,” special issue, Biography: An Interdisciplinary Quarterly 23, no. 1 (2000) ; William H. Epstein and R. Barton Palmer, eds., Invented Lives, Imagined Communities: The Biopic and American National Identity (New York: SUNY Press, 2016) ; Dennis Bingham, Whose Lives Are They Anyway? The Biopic as Contemporary Film Genre (New Brunswick, NJ: Rutgers University Press, 2010) ; and Tom Brown and Belén Vidal, eds., The Biopic in Contemporary Film Culture , AFI Film Readers (London and New York: Routledge, 2014) .

92. Ryan Claycomb, Lives in Play: Autobiography and Biography on the Feminist Stage (Ann Arbor: University of Michigan Press, 2012) ; Victoria Kuttainen and Lindsay Simpson, eds., “Performing Lives,” special issue, LiNQ: Connected Writing and Scholarship 39, no. 1 (2012) , quotation from the editors’ “Introduction: Performing Lives,” 11–14, at 11; Clara Tuite, Lord Byron and Scandalous Celebrity (Cambridge: Cambridge University Press, 2014) ; Daniel Herwitz, The Star as Icon: Celebrity in the Age of Mass Consumption (New York: Columbia University Press, 2016) ; and Katja Lee and Lorraine York, eds., Celebrity Cultures in Canada (Waterloo, Canada: Wilfrid Laurier University Press, 2016) .

93. Max Saunders, Self-Impression: Life-Writing, Autobiografiction, and the Forms of Modern Literature (Oxford: Oxford University Press, 2010) ; Gunnthórunn Gudmundsdóttir, Representations of Forgetting in Life Writing and Fiction (London: Palgrave Macmillan, 2016) ; Martina Wagner-Egelhaaf, Handbook of Autobiography/Autofiction , 3 vols. (Berlin: De Gruyter, 2019) ; Erika Hasebe-Ludt, Cynthia M. Chambers, and Carl Leggo, Life Writing and Literary Métissage as an Ethos of Our Times (New York: Peter Lang, 2009) ; Lucia Boldrini and Julia Novak, eds., Experiments in Life-Writing: Intersections of Auto/Biography and Fiction , Palgrave Studies in Life Writing (London: Palgrave Macmillan, 2018) ; Jean-Louis Jeannelle and Catherine Viollet, eds., Genèse et autofiction (Paris: Academia-Bruylant, 2007) ; and Helena Grice, Asian American Fiction, History, and Life Writing: International Encounters (London and New York: Routledge, 2009) .

94. Michael Lackey, The American Biographical Novel (London: Bloomsbury, 2016) ; Michael Lackey, Truthful Fictions: Conversations with American Biographical Novelists (London: Bloomsbury, 2015) ; Michael Lackey, Conversations with Biographical Novelists: Truthful Fictions across the Globe (London: Bloomsbury, 2018) ; Michael Lackey, Biographical Fiction: A Reader (London: Bloomsbury, 2017) ; Michael Lackey, Biofictional Histories, Mutations, and Forms (London and New York: Routledge, 2016) ; and Michael Lackey, ed., “Biofictions,” special issue, a/b: Auto/Biography Studies 31, no. 1 (2016) .

95. Susanna Egan, Burdens of Proof: Faith, Doubt, and Identity (Waterloo, Canada: Wilfrid Laurier University Press, 2011) ; and Nancy K. Miller, “The Entangled Self: Genre Bondage in the Age of the Memoir,” PMLA 122, no. 2 (2007) : 537–548.

96. Kadar, “Coming to Terms.”

97. Lauren Berlant and Jay Prosser, “Life Writing and Intimate Publics: A Conversation with Lauren Berlant,” Biography: An Interdisciplinary Quarterly 34, no. 1 (2011) : 180–187, at 183.

98. Berlant and Prosser, “Life Writing and Intimate Publics,” 182.

99. Berlant and Prosser, “Life Writing and Intimate Publics,” 181.

100. Marlen Kadar, “The Devouring: Traces of Roma in the Holocaust; No Tattoo, Sterilized Body, Gypsy Girl,” in Kadar et al., Tracing the Autobiographical , 223–246, at 223–224.

101. Kadar, “The Devouring,” 243. On the fragment as “an unfinished separation” Kadar is citing Maurice Blanchot, The Writing of the Disaster , trans. Ann Smock (Lincoln: University of Nebraska Press, 1986) .

102. Kadar, “The Devouring,” 226.

103. Kadar, “Whose Life Is It Anyway?,” quotations at 153.

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autobiography

What is autobiography definition, usage, and literary examples, autobiography definition.

An  autobiography  (awe-tow-bye-AWE-gruh-fee) is a self-written  biography . The author writes about all or a portion of their own life to share their experience, frame it in a larger cultural or historical context, and/or inform and entertain the reader.

Autobiographies have been a popular literary genre for centuries. The first Western autobiography is attributed to Saint Augustine of Hippo for his 13-book work titled  Confessions , written between 397 and 400 CE. Some autobiographies are a straightforward narrative that recollects a linear chain of events as they unfolded. The genre has expanded and evolved to include different approaches to the form.

The word  autobiography  comes from the Ancient Greek  auto  (“self”) +  bios  (“life”) +  graphein  (“to write”) = “a self-written life.” It is also known as autography .

The History of Autobiography

Scholars regard Augustine’s  Confessions  as the first Western autobiography. Other autobiographical works from antiquity include Jewish historian Flavius Josephus’s  Vita  (circa 99 CE) and Greek scholar Libanius’s  Oration I  (374 CE). Works of this kind were called apologias, which essentially means “in my defense.” Writers approached these works not as acts of self-documentation but as self-defense. They represented a way to explain and provide rationale for their life, work, and escapades. There was also less focus on their emotional lives.

The Book of Margery Kempe , written in 1438 by an English Christian mystic, is the earliest known autobiography in English. (Though it didn’t see full publication until the 20th century.) Other early English-language biographies of note include:

• Lord Herbert of Cherbury’s 1764 memoirs
• John Bunyan’s  Grace Abounding to the Chief of Sinners  in 1666
• Jarena Lee’s  The Life and Religious Experience of Jarena Lee  (the first autobiography of an African American woman)

Philosopher Jean-Jacques Rousseau’s  Confessions was published in 1782. It paved the way for the more thoughtful, emotionally centered autobiographies seen today. Autobiography as a literary genre emerged a few years later, when British scholar William Taylor first used the term to describe a self-written biography. He did so disparagingly, suggesting the form was  pedantic . In 1809, English Romantic poet Robert Southey used the term more seriously to describe self-written biographies.

Starting in the 20th century, more young people started writing autobiographies. Perhaps the most famous example is Anne Frank’s  The Diary of a Young Girl , about her time hiding from the Nazis in an Amsterdam attic. The 21st century saw an increase in autobiographical essay collections and memoirs by younger celebrities, including:

• Anna Kendrick
• Mindy Kaling
• Gabourey Sidibe
• Mike Birbiglia
• Lena Dunham
• Chelsea Handler

Autobiographies are not immune to controversy. One notable scandal involved author James Frey’s  A Million Little Pieces . Originally billed as a memoir, evidence later emerged that Frey invented key parts of the story. This example underscores how easily authors can cross over into autofiction—fictional autobiography—and how seriously readers take authors’ responsibility to accurately and honestly market their books.

Types of Autobiographies

There are a few different types of self-written works that qualify as autobiography.

Standard Autobiographies

In the most traditional form, authors recount their life or specific formative events from their life. This approach often utilizes a chronological format of events, but it doesn’t necessarily have to. An author’s approach might include a framing device such as flashbacks, in which they move from the present to the past as they remember their lives. For example, Broadway star Patti LuPone’s self-titled autobiography begins on the opening night of  Gypsy  in 2004 before moving back in time to LuPone’s childhood. An author could take a more stream-of-consciousness style, in which one memory links to another by a common theme. Irish writer Seán O’Casey narrates his six-volume  Autobiographies  in this manner

This is a type of autobiography that is narrower in scope and focus. It places greater emphasis on particular memories, thoughts, and feelings. A standard autobiography can certainly cover some of this same ground—most do—but the memoir is more interested in individual events or defined portions of the author’s life and the emotions and lessons behind them.

Henry David Thoreau is a notable memoirist. In Walden , he reflects on his time spent living in solitude in the woods of Massachusetts and what he learned about life and nature throughout this experience. Another example is  The Year of Magical Thinking  by Joan Didion, which relates the death of her husband and its impact on her life and work. Another is  Wild  by Cheryl Strayed, wherein Strayed remembers her time hiking the Pacific Crest Trail during a period of great change in her life.

Autofiction

The fictionalized autobiography, or autofiction, is another type of autobiography. The author presents their story not as fact but as fiction. This method gives them considerable space to take creative license with events and characters, thereby blurring the lines between reality and fiction. The overall goal is less about the author wanting to obscure facts and make things up and more a matter of taking another tactic to delve into their experiences in service of self-discovery.  Taipei  by Tao Lin is a work of autofiction. The central character, Paul, mirrors Lin’s own life and experiences, from the literary world of New York City to his ancestral roots in Taiwan.

Spiritual Autobiographies

These autobiographies center on the author’s religious or spiritual awakening and the subsequent journey their faith has taken them on. Common elements include struggles and doubt, a life-altering conversion, periods of regression, and sharing the “message.” These all act as endorsements of the author’s faith. Augustine’s  Confessions , Paramahansa Yogananda’s  Autobiography of a Yogi , and Augusten Burroughs’s  Toil & Trouble: A Memoir  are all spiritual autobiographies.

Autobiography vs. Biography

Both autobiographies and  biographies  are records of real lives, but there is one major distinction. A person other than the book’s subject writes a biography, while the subject themselves writes an autobiography. In this way, an autobiography is essentially a biography of the self. The biographer’s job is typically more involved, entailing detailed research into the life of the subject. The autobiographer, however, is usually not burdened by this because they lived through the events they write about. They may need only to confirm dates and stories to accurately relate the pertinent details.

The Function of Autobiography

An autobiography allows the author to tell the true story of their own life. This is the reason why autobiographies have always been written by famous people. History tends to remember notable individuals for just one significant contribution or event and, even then, the public’s perception of it may be inaccurate. Writing an autobiography allows the author to share the real story and put it into the larger context of their life and times.

Most readers pick up an autobiography expecting some degree of subjectivity from the author. After all, the events chronicled happened to the author, so the writing will of course have a biased  perspective . There are advantages to this subjectivity, though. The reader gets the real story directly from the person who lived it, unvarnished by others’ opinions or erroneous historical data.

One way this subjectivity is problematic is that the author may not possess the ability to see the story they’re telling from other perspectives. For example, they may not acknowledge any hurt they caused others, dangerous behaviors they engaged in, or the “other side” of a controversial event in which there are equally valid opposing viewpoints and experiences. Any of these deficiencies can result in a somewhat skewed narrative.

Writers Known for Autobiography & Autobiography Books

• Maya Angelou,  I Know Why the Caged Bird Sings ,  Gather Together in My Name
• Jung Chang,  Wild Swans: Three Daughters of China
• Isak Dinesen,  Out of Africa ,  Shadows on the Grass
• Carrie Fisher,  Wishful Drinking ,  Shockaholic
• Anne Frank,  The Diary of a Young Girl
• Ernest Hemingway,  A Moveable Feast
• Karl Ove Knausgård,  My Struggle
• Frank McCourt,  Angela’s Ashes
• Anaïs Nin,  The Diaries of Anaïs Nin
• Marcel Proust,  Remembrance of Things Past
• Patti Smith,  Just Kids ,  M Train
• Mark Twain, The Autobiography of Mark Twain
• Benjamin Franklin, The Autobiography of Benjamin Franklin
• Malcolm X, The Autobiography of Malcolm X
• Agatha Christie, Agatha Christie: An Autobiography
• Nelson Mandela, Long Walk to Freedom
• Mahatma Gandhi, Gandhi: An Autobiography 

Examples of Autobiographies

1. Maya Angelou,  I Know Why the Caged Bird Sings

Angelou’s autobiography is the first installment in a seven-volume series chronicling the life of the legendary poet, teacher, actress, director, dancer, and civil rights activist. Given all those roles, it’s easy to see why Angelou’s life story makes for interesting reading.

This volume centers primarily on her early life in Stamps, Arkansas, and the devastating effects of a childhood rape. It also explores racism in the American South. It discuses the important role reading plays in helping young Maya deal with the sexual assault and pervasive prejudice in her environment.

2. Helen Keller,  The Story of My Life

Keller’s autobiography details her first 20 years, starting with the childhood illness that caused her blindness and deafness. She discusses the obstacles she had to overcome and the life-changing relationship she shared with her teacher, Anne Sullivan, who helped her learn to read and write. Keller also documents her friendships with several famous figures of her day, including Alexander Graham Bell, John Greenleaf Whittier, Oliver Wendell Holmes, and First Lady Frances Cleveland.

3. Vinh Chung,  Where the Wind Leads

Chung’s autobiography recalls the harrowing story of a Vietnamese refugee and his journey to make the American Dream his own. Born in South Vietnam, Chung comes of age in a changing political climate that eventually compels his family to flee the country. Their voyage takes them through the South China Sea, run-ins with pirates, resettlement in Arkansas, and Chung’s graduation from Harvard Medical School.

How to Write an Autobiography

Autobiography is a truly universal art form and is accessible to anyone, whether you're in high school or 100 years old. Exploring the process of writing an autobiography deserves an article in itself, but the process should include these steps:

• Determine your "why." What lessons do you want to impart via your story, and why are they worth sharing with a broader audience?
• Draft an autobiographical outline. It should include information about your upbringing, impactful moments throughout your life, stories of failure and success, and meaningful mentors.
• Begin with the easiest sections. Getting started is often the greatest hurdle, so begin by writing the chapters that feel most accessible or enjoyable.
• Write your first draft. Once you write the first chapters, it will feel easier to write the rest. Capitalize on your momentum and write a full draft.
• Step away. As with anything, stepping away from your work will help foster fresh perspectives when you return.
• Edit and re-write your draft. Your first draft will probably benefit from thorough revisions, as will your second draft, and maybe your third. Continue to edit and revise until it feels right.
• Ask for help. Bring in a trusted family member or friend or professional editor to help with final edits.

Further Resources on Autobiography

ThoughtCo. shares some  important points to consider before writing an autobiography .

The Living Handbook of Narratology delves into the  history of the autobiography .

MasterClass breaks autobiography writing down into  eight basic steps .

Pen & the Pad looks at the  advantages and disadvantages of the autobiography .

Lifehack has a list of  15 autobiographies everyone should read at least once .

Related Terms

• Frame Story
• Point of View

How to Define Autobiography

Glossary of Grammatical and Rhetorical Terms

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

An autobiography is an account of a person's life written or otherwise recorded by that person. Adjective: autobiographical .

Many scholars regard the Confessions (c. 398) by Augustine of Hippo (354–430) as the first autobiography.

The term fictional autobiography (or pseudoautobiography ) refers to novels that employ first-person narrators who recount the events of their lives as if they actually happened. Well-known examples include David Copperfield (1850) by Charles Dickens and Salinger's  The Catcher in the Rye (1951).

Some critics believe that all autobiographies are in some ways fictional. Patricia Meyer Spacks has observed that "people do make themselves up. . . . To read an autobiography is to encounter a self as an imaginative being" ( The Female Imagination , 1975).

For the distinction between a memoir and an autobiographical composition, see memoir  as well as the examples and observations below. 

From the Greek, "self" + "life" + "write"

Examples of Autobiographical Prose

• Imitating the Style of the Spectator , by Benjamin Franklin
• Langston Hughes on Harlem
• On the Street, by Emma Goldman
• Ritual in Maya Angelou's Caged Bird
• The Turbid Ebb and Flow of Misery, by Margaret Sanger
• Two Ways of Seeing a River, by Mark Twain

Examples and Observations of Autobiographical Compositions

• "An autobiography is an obituary in serial form with the last installment missing." (Quentin Crisp, The Naked Civil Servant , 1968)
• "Putting a life into words rescues it from confusion even when the words declare the omnipresence of confusion, since the art of declaring implies dominance." (Patricia Meyer Spacks, Imagining a Self: Autobiography and Novel in Eighteenth-Century England . Harvard University Press, 1976)
• The Opening Lines of Zora Neale Hurston's Autobiography - "Like the dead-seeming, cold rocks, I have memories within that came out of the material that went to make me. Time and place have had their say. "So you will have to know something about the time and place where I came from, in order that you may interpret the incidents and directions of my life. "I was born in a Negro town. I do not mean by that the black back-side of an average town. Eatonville, Florida, is, and was at the time of my birth, a pure Negro town--charter, mayor, council, town marshal and all. It was not the first Negro community in America, but it was the first to be incorporated, the first attempt at organized self-government on the part of Negroes in America. "Eatonville is what you might call hitting a straight lick with a crooked stick. The town was not in the original plan. It is a by-product of something else. . . ." (Zora Neale Hurston, Dust Tracks on a Road . J.B. Lippincott, 1942) - "There is a saying in the Black community that advises: 'If a person asks you where you're going, you tell him where you've been. That way you neither lie nor reveal your secrets.' Hurston had called herself the 'Queen of the Niggerati.' She also said, 'I like myself when I'm laughing.' Dust Tracks on a Road is written with royal humor and an imperious creativity. But then all creativity is imperious, and Zora Neale Hurston was certainly creative." (Maya Angelou, Foreword to Dust Tracks on a Road , rpt. HarperCollins, 1996)
• Autobiography and Truth "All autobiographies are lies. I do not mean unconscious, unintentional lies; I mean deliberate lies. No man is bad enough to tell the truth about himself during his lifetime, involving, as it must, the truth about his family and friends and colleagues. And no man is good enough to tell the truth in a document which he suppresses until there is nobody left alive to contradict him." (George Bernard Shaw, Sixteen Self Sketches , 1898)" " Autobiography is an unrivaled vehicle for telling the truth about other people." (attributed to Thomas Carlyle, Philip Guedalla, and others)
• Autobiography and Memoir - "An autobiography is the story of a life : the name implies that the writer will somehow attempt to capture all the essential elements of that life. A writer's autobiography, for example, is not expected to deal merely with the author's growth and career as a writer but also with the facts and emotions connected to family life, education, relationships, sexuality, travels, and inner struggles of all kinds. An autobiography is sometimes limited by dates (as in Under My Skin: Volume One of My Autobiography to 1949 by Doris Lessing), but not obviously by theme. "Memoir, on the other hand, is a story from a life . It makes no pretense of replicating a whole life." (Judith Barrington, Writing the Memoir: From Truth to Art . Eighth Mountain Press, 2002) - "Unlike autobiography , which moves in a dutiful line from birth to fame, memoir narrows the lens, focusing on a time in the writer's life that was unusually vivid, such as childhood or adolescence, or that was framed by war or travel or public service or some other special circumstance." (William Zinsser, "Introduction," Inventing the Truth: The Art and Craft of Memoir . Mariner Books, 1998)
• An "Epidemical Rage for Auto-Biography" "[I]f the populace of writers become thus querulous after fame (to which they have no pretensions) we shall expect to see an epidemical rage for auto-biography break out, more wide in its influence and more pernicious in its tendency than the strange madness of the Abderites, so accurately described by Lucian. London, like Abdera, will be peopled solely by 'men of genius'; and as the frosty season, the grand specific for such evils, is over, we tremble for the consequences. Symptoms of this dreadful malady (though somewhat less violent) have appeared amongst us before . . .." (Isaac D'Israeli, "Review of "The Memoirs of Percival Stockdale," 1809)|
• The Lighter Side of Autobiography - "The Confessions of St. Augustine are the first autobiography , and they have this to distinguish them from all other autobiographies, that they are addressed directly to God." (Arthur Symons, Figures of Several Centuries , 1916) - "I write fiction and I'm told it's autobiography , I write autobiography and I'm told it's fiction, so since I'm so dim and they're so smart, let them decide what it is or isn't." (Philip Roth, Deception , 1990) - "I'm writing an unauthorized autobiography ." (Steven Wright)

Pronunciation: o-toe-bi-OG-ra-fee

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Biography Vs Autobiography: Similarities and Differences with Examples

Do you ever get confused between biography and autobiography? If so, you're not alone. These terms are used interchangeably, but each has its own unique approach. In this blog, we'll discuss biography vs autobiography. After reading this guide, you'll be able to make the difference between an autobiography and a biography. 

What is biography?

Here is a simple definition of biography: 'A biography is a detailed account of an individual's life written by someone else. The author is not the subject of the story. It is also referred to as a bio.' A biography can be about someone who is alive or deceased. It highlights essential moments and happenings in the life of the person in question. This genre essentially incorporates a person's extensive data, including given name, origin, birth date,occupation, and connections. Creating an exceptional piece requires perusing diverse materials such as records, manuals, memoirs, pictures, and interviews. Effective biographies come in writing; however, they can also take other forms such as music, movies. If the targeted subject is dead, then the writer has to do an immense amount of research. You may need to interview the people who knew that person or read already written biographies about that person. But if the person is alive, the writer can interview the target person several times to know about their life experiences.  Biography writing seems like a tiresome job. But you can ease this task by reading our latest guide on professional biography writing . 

Purpose of Biography

The primary goal of biography writing is to tell the readers about the subject's life from childhood to adult life and the rest of the years. Additionally, the biography tells a story of how the person learned life lessons and navigated through the challenges. The person's biography should give a clear picture to the reader about the subject's personality, traits, and how they interact with the world. You must cover all the essential features of biography.

Definition of Autobiography

The story about a person's life written by that person himself or herself is called an autobiography. The literal meaning of the word auto is 'self.' It covers all the elements of the biography but is narrated by the writer himself. Anyone can write their life story as an autobiography. Moreover, the author is himself the subject of the biography.

Purpose of Autobiography

The basic purpose of an autobiography is to portray the author's accomplishments and experiences of life. The majority of autobiographies are written from the author's perspective later in the person's life. So, the first person account is used to tell the author's story.  An autobiography usually starts with the early childhood years. Then, covers information about the person's brought up place, their education years, career, challenges they faced and how they tackled them. These are the key features of autobiography. It is created from the person's diaries. Moreover, the story may have flashbacks and flash forwards, but it must follow the chronological order. Describe the person's life occasions in a sequential manner from early life to their current years. 

Important Aspects of a Strong Autobiography

The primary features of autobiography are as follows:

• The facts are always told in the first person.
• More in-depth and personal than a biography.
• Goes into great depth about the character's life.
• It also explains the motivation behind the main character's behavior.

Common Elements of Biography and Autobiography

Here are a few elements that are common in both types of written formats:

• The purpose of both is to portray a person's life.
• Both are nonfiction because they deal with real-life events that occur during the subject's life.
• Both follow the same chronological order, starting from their early life to the various life stages.
• They include personal insights about the subject's life.
• Both genres may use multiple sources like newspapers, interviews, diaries, photographs and other documents to provide context and in depth narrative.
• The key elements, such as growth, character development, and transformation, are discussed in both. 

Recommended Reading : How to write a biography essay with tips, sample & outline

What is the difference between biography and autobiography?

Along with the similarities, there are also some notable differences between them. The basic difference between autobiography and biography is that autobiography tends to be more subjective in nature. That's why they are written by the subject themselves. Let’s explain the difference between autobiography and biography in detail.

Autobiography Vs Biography Examples

Biography example.

• Name: Alexander Hamilton Author name: Ron Chernow Alexander Hamilton is one of the most fascinating founding fathers of America, and Ron Chernow tells his story in great detail. Chernow traces Hamilton's transformation from an orphan into a political genius by fusing in-depth research with a narrative style. The book clarifies Hamilton's political beliefs and his pivotal role in the development of the US financial system (Chernow, 2004).
• Name: The Life of Samuel Jhonson Author name: Boswell Boswell delves deeply into the life of Dr. Samuel Johnson, his mentor and friend. The biography portrays Dr. Johnson's life, character, unique traits, and intellectual prowess in a fascinating way (Boswell, 1791). Boswell's vivid portrayal brings Johnson to life for the readers, making this one of the best biographies in English literature.
• Name: The Lives of the Most Eminent English Poets Author name: Dr. Samuel Jhonson Some of the 17th and 18th century's greatest poets, such as Alexander Pope and John Milton, are discussed in Dr. Johnson's work. In addition to critiquing the works, he delves into the authors' private lives and the geopolitical context of their eras (Johnson, 1781). Johnson's research is very significant because it takes a combined historical and biographical approach.

Autobiography Examples

• Name: The Diary of a Young Girl Author: Anne Frank It is a unique story of a little Jewish girl. Her name is Anne Frank. This book told the story of her and her family's escape from Nazis in Amsterdam during World War II. She spent two years in hiding, and her diary writings provide important insights into the dread, hope, and resiliency she faced (Frank, 1947). Frank's autobiography posthumously acts as both a symbol of perseverance in the face of adversity and a reminder of the injustices of the past.
• Name: I Know Why the Caged Bird Sings Author: Maya Angelou This moving autobiography traces the early years of Maya Angelou, from being the first black streetcar operator in San Francisco to facing racial discrimination in the South. With incredible grace and courage, Angelou depicts her path of self-discovery and overcoming catastrophic events, including personal pain and racial prejudice. Her narrative of tenacity conveys a powerful message about discovering one's voice (Angelou, 1969).
• Name: Night Author: Elie Wiesel The autobiographical story " Night " by Elie Wiesel describes his and his father's experiences in Nazi concentration camps during WWII. This devastating story explores the loss of innocence and the fight to hold onto faith in humanity in addition to detailing physical suffering and cruel acts. It is proof of the human spirit's ability to persevere in the face of unimaginable evil (Wiesel, 1960).

Bottom Line

It's often challenging to distinguish between an autobiography and a biography. Although there are some significant distinctions between the two genres, you should be aware of them if your aim is to write in any of them. While both biographies and autobiographies are valuable sources of information and amusement about historical personalities (or current figures! ), they serve different purposes. We can enhance our media knowledge and gain a better understanding of the author's aim and appropriate approach to the material by being aware of the distinct objectives of each.  We really hope you find this information useful. You can get in touch with experienced writers who are highly qualified and have years of experience in providing biography writing services .  Take your time and make sure you are creating an engaging narrative that makes the reader feel as though they are right there with you when writing your own life story.

Table of Contents

Persuasive essay topics – how to choose one for you, how to write a persuasive essay- expert tips.

Autobiography

Definition of autobiography.

Autobiography is one type of biography , which tells the life story of its author, meaning it is a written record of the author’s life. Rather than being written by somebody else, an autobiography comes through the person’s own pen, in his own words. Some autobiographies are written in the form of a fictional tale; as novels or stories that closely mirror events from the author’s real life. Such stories include Charles Dickens ’ David Copperfield  and J.D Salinger’s The Catcher in The Rye . In writing about personal experience, one discovers himself. Therefore, it is not merely a collection of anecdotes – it is a revelation to the readers about the author’s self-discovery.

Difference between Autobiography and Memoir

In an autobiography, the author attempts to capture important elements of his life. He not only deals with his career, and growth as a person, he also uses emotions and facts related to family life, relationships, education, travels, sexuality, and any types of inner struggles. A memoir is a record of memories and particular events that have taken place in the author’s life. In fact, it is the telling of a story or an event from his life; an account that does not tell the full record of a life.

Six Types of Autobiography

There are six types of autobiographies:

• Autobiography: A personal account that a person writes himself/herself.
• Memoir : An account of one’s memory.
• Reflective Essay : One’s thoughts about something.
• Confession: An account of one’s wrong or right doings.
• Monologue : An address of one’s thoughts to some audience or interlocuters.
• Biography : An account of the life of other persons written by someone else.

Importance of Autobiography

Autobiography is a significant genre in literature. Its significance or importance lies in authenticity, veracity, and personal testimonies. The reason is that people write about challenges they encounter in their life and the ways to tackle them. This shows the veracity and authenticity that is required of a piece of writing to make it eloquent, persuasive, and convincing.

Examples of Autobiography in Literature

Example #1:  the box: tales from the darkroom by gunter grass.

A noble laureate and novelist, Gunter Grass , has shown a new perspective of self-examination by mixing up his quilt of fictionalized approach in his autobiographical book, “The Box: Tales from the Darkroom.” Adopting the individual point of view of each of his children, Grass narrates what his children think about him as their father and a writer. Though it is really an experimental approach, due to Grass’ linguistic creativity and dexterity, it gains an enthralling momentum.

Example #2:  The Story of My Life by Helen Keller

In her autobiography, The Story of My Life , Helen Keller recounts her first twenty years, beginning with the events of the childhood illness that left her deaf and blind. In her childhood, a writer sent her a letter and prophesied, “Someday you will write a great story out of your own head that will be a comfort and help to many.”

In this book, Keller mentions prominent historical personalities, such as Alexander Graham Bell, whom she met at the age of six, and with whom she remained friends for several years. Keller paid a visit to John Greenleaf Whittier , a famous American poet, and shared correspondence with other eminent figures, including Oliver Wendell Holmes, and Mrs. Grover Cleveland. Generally, Keller’s autobiography is about overcoming great obstacles through hard work and pain.

Example #3:  Self Portraits: Fictions by Frederic Tuten

In his autobiography, “Self Portraits: Fictions ,” Frederic Tuten has combined the fringes of romantic life with reality. Like postmodern writers, such as Jorge Luis Borges, and Italo Calvino, the stories of Tuten skip between truth and imagination, time and place, without warning. He has done the same with his autobiography, where readers are eager to move through fanciful stories about train rides, circus bears, and secrets to a happy marriage; all of which give readers glimpses of the real man.

Example #4:  My Prizes by Thomas Bernhard

Reliving the success of his literary career through the lens of the many prizes he has received, Thomas Bernhard presents a sarcastic commentary in his autobiography, “My Prizes.” Bernhard, in fact, has taken a few things too seriously. Rather, he has viewed his life as a farcical theatrical drama unfolding around him. Although Bernhard is happy with the lifestyle and prestige of being an author, his blasé attitude and scathing wit make this recollection more charmingly dissident and hilarious.

Example #5:  The Autobiography of Benjamin Franklin by Benjamin Franklin

“The Autobiography of Benjamin Franklin ” is written by one of the founding fathers of the United States. This book reveals Franklin’s youth, his ideas, and his days of adversity and prosperity. He is one of the best examples of living the American dream – sharing the idea that one can gain financial independence, and reach a prosperous life through hard work.

Through autobiography, authors can speak directly to their readers, and to their descendants. The function of the autobiography is to leave a legacy for its readers. By writing an autobiography, the individual shares his triumphs and defeats, and lessons learned, allowing readers to relate and feel motivated by inspirational stories. Life stories bridge the gap between peoples of differing ages and backgrounds, forging connections between old and new generations.

Synonyms of Autobiography

The following words are close synonyms of autobiography such as life story, personal account, personal history, diary, journal, biography, or memoir.

Related posts:

• The Autobiography of Malcolm X

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Home » Writing » Autobiography vs. Biography vs. Memoir

What is a Biography?

A biography, also called a bio, is a non-fiction piece of work giving an objective account of a person’s life. The main difference between a biography vs. an autobiography is that the author of a biography is not the subject. A biography could be someone still living today, or it could be the subject of a person who lived years ago.

Biographies include details of key events that shaped the subject’s life, and information about their birthplace, education, work, and relationships. Biographers use a number of research sources, including interviews, letters, diaries, photographs, essays, reference books, and newspapers. While a biography is usually in the written form, it can be produced in other formats such as music composition or film.

If the target person of the biography is not alive, then the storytelling requires an immense amount of research. Interviews might be required to collect information from historical experts, people who knew the person (e.g., friends and family), or reading other older accounts from other people who wrote about the person in previous years. In biographies where the person is still alive, the writer can conduct several interviews with the target person to gain insight on their life.

The goal of a biography is to take the reader through the life story of the person, including their childhood into adolescence and teenage years, and then their early adult life into the rest of their years. The biography tells a story of how the person learned life’s lessons and the ways the person navigated the world. It should give the reader a clear picture of the person’s personality, traits, and their interaction in the world.

Biographies can also be focused on groups of people and not just one person. For example, a biography can be a historical account of a group of people from hundreds of years ago. This group could have the main person who was a part of the group, and the author writes about the group to tell a story of how they shaped the world.

Fictional biographies mix some true historical accounts with events to help improve the story. Think of fictional biographies as movies that display a warning that the story is made of real characters, but some events are fictional to add to the storyline and entertainment value. A lot of research still goes into a fictional biography, but the author has more room to create a storyline instead of sticking to factual events.

Examples of famous biographies include:

• His Excellency: George Washington  by Joseph J. Ellis
• Einstein: The Life and Times  by Ronald William Clark
• Princess Diana – A Biography of The Princess of Wales  by Drew L. Crichton

What is an Autobiography?

An autobiography is the story of a person’s life written by that person. Because the author is also the main character of the story, autobiographies are written in the first person. Usually, an autobiography is written by the person who is the subject of the book, but sometimes the autobiography is written by another person. Because an autobiography is usually a life story for the author, the theme can be anything from religious to a personal account to pass on to children.

The purpose of an autobiography is to portray the life experiences and achievements of the author. Therefore, most autobiographies are typically written later in the subject’s life. It’s written from the point of view of the author, so it typically uses first person accounts to describe the story.

An autobiography often begins during early childhood and chronologically details key events throughout the author’s life. Autobiographies usually include information about where a person was born and brought up, their education, career, life experiences, the challenges they faced, and their key achievements.

On rare occasions, an autobiography is created from a person’s diary or memoirs. When diaries are used, the author must organize them to create a chronological and cohesive story. The story might have flashbacks or flashforwards to describe a specific event, but the main storyline should follow chronological order from the author’s early life to their current events.

One of the main differences between an autobiography vs. a biography is that autobiographies tend to be more subjective. That’s because they are written by the subject, and present the facts based on their own memories of a specific situation, which can be biased. The story covers the author’s opinions on specific subjects and provides an account of their feelings as they navigate certain situations. These stories are also very personal because it’s a personal account of the author’s life rather than a biography where a third party writes about a specific person.

Examples of famous autobiographies include:

• The Story of My Life  by Helen Keller
• The Diary of a Young Girl  by Anne Frank
• Losing My Virginity  by Richard Branson

What is a Memoir?

Memoir comes from the French word  mémoire , meaning memory or reminiscence. Similar to an autobiography, a memoir is the story of a person’s life written by that person. These life stories are often from diary entries either from a first-person account or from a close family member or friend with access to personal diaries.

The difference between a memoir vs. an autobiography is that a memoir focuses on reflection and establishing an emotional connection, rather than simply presenting the facts about their life. The author uses their personal knowledge to tell an intimate and emotional story about the private or public happenings in their life. The author could be the person in the story, or it can be written by a close family member or friend who knew the subject person intimately. The topic is intentionally focused and does not include biographical or chronological aspects of the author’s life unless they are meaningful and relevant to the story.

Memoirs come in several types, all of which are written as an emotional account of the target person. They usually tell a story of a person who went through great struggles or faced challenges in a unique way. They can also cover confessionals where the memoir tells the story of the author’s account that contradicts another’s account.

This genre of writing is often stories covering famous people’s lives, such as celebrities. In many memoir projects, the celebrity or person of interest needs help with organization, writing the story, and fleshing out ideas from the person’s diaries. It might take several interviews before the story can be fully outlined and written, so it’s not uncommon for a memoir project to last several months.

Memoirs do not usually require as much research as biographies and autobiographies, because you have the personal accounts in diary entries and documents with the person’s thoughts. It might require several interviews, however, before the diary entries can be organized to give an accurate account on the person’s thoughts and emotions. The story does not necessarily need to be in chronological order compared to an autobiography, but it might be to tell a better story.

Examples of famous memoirs include:

• Angela’s Ashes  by Frank McCourt
• I Know Why the Caged Bird Sings  by Maya Angelou
• Personal Memoirs of Ulysses S.  Grant by Ulysses S. Grant

Autobiography vs. Biography vs. Memoir Comparison Chart

Check out some of our blogs to learn more about memoirs:

• What is a memoir?
• 5 tips for writing a memoir
• Your memoir is your legacy

Ready to get started on your own memoir, autobiography, or biography? Download our free desktop book-making software, BookWright .

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• exercise book
• multi-volume

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to fasten the belt that keeps you in your seat in a car or a plane

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What is an Autobiography? Definition, Elements, and Writing Tips

POSTED ON Oct 1, 2023

Written by Audrey Hirschberger

What is an autobiography, and how do you define autobiography, exactly? If you’re hoping to write an autobiography, it’s an important thing to know. After all, you wouldn’t want to mislabel your book.

What sets an autobiography apart from a memoir or a biography? And what type of writing is most similar to an autobiography? Should you even write one? How? Today we will be discussing all things autobiographical, so you can learn what an autobiography is, what sets it apart, and how to write one of your own – should you so choose. 

But before we get into writing tips, we must first define autobiography. So what is an autobiography, precisely? 

Need A Nonfiction Book Outline?

This Guide to Autobiographies Contains Information On:

What is an autobiography: autobiography meaning defined.

What is an autobiography? It’s a firsthand recounting of an author’s own life. So, if you were to write an autobiography, you would be writing a true retelling of your own life events. 

Autobiography cannot be bound to only one type of work. What an autobiography is has more to do with the contents than the format. For example, autobiographical works can include letters, diaries, journals, or books – and may not have even been meant for publication. 

An autobiography is what many celebrities, government officials, and important social figures sit down to write at the end of their lives or distinguished careers. 

Of course, the work doesn’t have to cover your whole life. You can absolutely write an autobiography in your 20s or 30s if you’ve lived through events worth sharing!

If an autobiography doesn’t cover the entire lifespan of the author, it can start to get confused with another genre of writing. So what’s an autobiography most similar to? And how can you tell it apart from other genres of writing? Let’s dive into the details. 

What type of writing is most similar to an autobiography?

A memoir is undoubtedly what type of writing is most similar to an autobiography. So what is the difference between an autobiography vs memoir ?

Simply put, a memoir is a book that an author writes about their own life with the intention of communicating a lesson or message to the reader. It doesn’t need to be written in chronological order, and only contains pieces of the author’s life story. 

An autobiography, on the other hand, is the author’s life story from birth to present, and it’s much less concerned with theme than it is with communicating a “highlight reel” of the author’s biggest life events. 

In addition to memoirs, there is also some confusion between autobiography vs biography . A biography is a true story about someone’s life, but it is not about the author’s life. 

Is an autobiography always nonfiction?

When many people define autobiography, they say it is a true or “nonfiction” telling of an author’s life – but that’s not always the case.

There is actually such a thing as autobiographical fiction .

Autobiographical fiction refers to a story that is based on fact and inspired by the author’s actual experiences…but has made-up characters or events. Any element in the story can be embellished upon or fabricated. 

Even the information in a standard “nonfiction” autobiography should be taken with a grain of salt. After all, anything written from the author’s perspective may contain certain biases, distortions, or unconscious omissions within the text. 

So if being nonfiction isn’t a defining characteristic of an autobiography, what is an autobiography defined by? 

The key elements of an autobiography

What’s an autobiography like from cover to cover? It should contain these key elements:

• A personal narrative : It is a firsthand account of the author's life experiences.
• A chronological structure : An autobiography typically follows a chronological order, tracing the author's life from birth to present.
• Reflection and insight : The book should contain the author's reflections, insights, and emotions about key life events.
• Key life events : The book should highlight significant events, milestones, and challenges in the author's life.
• Setting and context : There should be descriptions of the time period, cultural background, and environment to help the reader understand the author’s life.
• Authenticity : The author should be honest and sincere in presenting their life story.
• A personal perspective : An autobiography is written from the author's unique point of view.
• A strong conclusion : The ending of the book should reflect on the author's current state or outlook.

Famous Autobiography Examples

Now that you know what an autobiography is, let’s look at some famous autobiography examples .

The Diary of a Young Girl by Anne Frank (1947)

Perhaps no autobiography is more famous than The Diary of a Young Girl by Anne Frank. Her diary chronicles her profound thoughts, dreams, and fears as she hides with her family in the walls during the Holocaust. 

Anne's words resonate with the enduring spirit of hope amid unimaginable darkness.

The Autobiography of Ben Franklin by Benjamin Franklin (1909)

Benjamin Franklin's autobiography follows Franklin’s life from humble origins to one of America's greatest forefathers. While originally intended as a collection of anecdotes for his son, this autobiography has become one of the most famous works of American literature. 

Long Walk to Freedom by Nelson Mandela (1994)

Long Walk to Freedom narrates Nelson Mandela's epic odyssey from South African prisoner to revered statesman. This masterpiece of an autobiography is a portrait of resilience against the backdrop of apartheid – and his words are a bastion for courage and human rights. 

Now you know what an autobiography is, and some examples of successful autobiographies, so it’s time to discuss what goes into actually writing one. 

Who Should Write an Autobiography?

Celebrity autobiographies are popular for a reason – the people who wrote them were already popular. 

The main purpose of an autobiography is to portray the life experiences and achievements of the author. If you haven’t made any massive achievements that people are already aware of, an autobiography might not be for you. Instead, you should learn how to write a memoir . 

After all, what’s an autobiography worth if no one reads it?

If you have made an important contribution to society, or have amassed a massive following of fans, then writing an autobiography could be a fabulous idea.

An autobiography is what allows you to claim your rightful place in history. It provides a legacy for your life, helps you to better understand your life’s journey, and can even be deeply therapeutic to write. 

But then comes the next problem: how to write an autobiography.

Tips on Writing Your Own Autobiography 

While memoirs are the books that teach life lessons, that doesn’t mean you shouldn’t give your autobiography meaning. The best autobiographies paint a vivid tapestry of personal growth and introspection. 

You don’t just want to tell the reader about your life – you want them to feel like they are living it with you.

And it’s not just about painting a picture with your prose. A lot of thought should go into everything from autobiography titles to page count. To get started, here are five tips for writing an autobiography:

• Know your audience : Understand who will read your autobiography and speak to them while writing.
• Be candid and authentic : A life seen through rose-colored glasses isn’t relatable. You should include your failures as well as your triumphs, and humanize yourself so your story resonates with your reader.
• Do your research : Of course you know what happened in your life, but how many details do you actually remember? You may need to sift through photos, archives, and diaries – and interview people close to you. Consider adding the photos to your book. 
• Identify key themes : Identify key events and life lessons that have shaped you. Reflect on how these themes have evolved over time.
• Edit and edit again : Write freely first, then edit rigorously. Seek feedback from trusted individuals and consider professional editing to ensure clarity and coherence in your narrative. NO ONE writes perfectly the first time. 

So there you have it, you are well on your way to understanding (and writing) an autobiography. 

If you'd still like more guidance for writing your autobiography, you can check out our free autobiography template . We can’t wait for you to share your life story with the world. 

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autobiography

[ aw-t uh -bahy- og -r uh -fee , -bee- , aw-toh- ]

• a history of a person's life written or told by that person.

/ ˌɔːtəʊbaɪˈɒɡrəfɪ; ˌɔːtəbaɪ- /

• an account of a person's life written or otherwise recorded by that person
• A literary work about the writer's own life. The Autobiography of Benjamin Franklin and Isak Dinesen's Out of Africa are autobiographical.

Discover More

Derived forms.

• ˌautobiˈographer , noun

Other Words From

• auto·bi·ogra·pher noun

Word History and Origins

Origin of autobiography 1

Example Sentences

In so doing, she gave us an autobiography that has held up for more than a century.

His handwritten autobiography reawakens in Lee a longing to know her motherland.

His elocution, perfected on stage and evident in television and film, make X’s autobiography an easy yet informative listen.

The book is not so much an autobiography of Hastings — or even Netflix’s origin story.

By contrast, Shing-Tung Yau says in his autobiography that the Calabi-Yau manifold was given its name by other people eight years after he proved its existence, which Eugenio Calabi had conjectured some 20 years before that.

Glow: The Autobiography of Rick JamesRick James David Ritz (Atria Books) Where to begin?

Hulanicki was the subject of a 2009 documentary, Beyond Biba, based on her 2007 autobiography From A to Biba.

And it was also during the phase of the higher autobiography.

“Nighttime was the worst,” Bennett wrote in his autobiography.

Then I picked up a book that shredded my facile preconceptions—Hard Stuff: The Autobiography of Mayor Coleman Young.

No; her parents had but small place in that dramatic autobiography that Daphne was now constructing for herself.

His collected works, with autobiography, were published in 1865 under the editorship of Charles Hawkins.

But there is one point about the book that deserves some considering, its credibility as autobiography.

I thought you were anxious for leisure to complete your autobiography.

The smallest fragment of a genuine autobiography seems to me valuable for the student of past epochs.

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