biography literary term

Definition of Biography

A biography is the non- fiction , written history or account of a person’s life. Biographies are intended to give an objective portrayal of a person, written in the third person. Biographers collect information from the subject (if he/she is available), acquaintances of the subject, or in researching other sources such as reference material, experts, records, diaries, interviews, etc. Most biographers intend to present the life story of a person and establish the context of their story for the reader, whether in terms of history and/or the present day. In turn, the reader can be reasonably assured that the information presented about the biographical subject is as true and authentic as possible.

Biographies can be written about a person at any time, no matter if they are living or dead. However, there are limitations to biography as a literary device. Even if the subject is involved in the biographical process, the biographer is restricted in terms of access to the subject’s thoughts or feelings.

Biographical works typically include details of significant events that shape the life of the subject as well as information about their childhood, education, career, and relationships. Occasionally, a biography is made into another form of art such as a film or dramatic production. The musical production of “Hamilton” is an excellent example of a biographical work that has been turned into one of the most popular musical productions in Broadway history.

Common Examples of Biographical Subjects

Most people assume that the subject of a biography must be a person who is famous in some way. However, that’s not always the case. In general, biographical subjects tend to be interesting people who have pioneered something in their field of expertise or done something extraordinary for humanity. In addition, biographical subjects can be people who have experienced something unusual or heartbreaking, committed terrible acts, or who are especially gifted and/or talented.

As a literary device, biography is important because it allows readers to learn about someone’s story and history. This can be enlightening, inspiring, and meaningful in creating connections. Here are some common examples of biographical subjects:

• political leaders
• entrepreneurs
• historical figures
• serial killers
• notorious people
• political activists
• adventurers/explorers
• religious leaders
• military leaders
• cultural figures

Famous Examples of Biographical Works

The readership for biography tends to be those who enjoy learning about a certain person’s life or overall field related to the person. In addition, some readers enjoy the literary form of biography independent of the subject. Some biographical works become well-known due to either the person’s story or the way the work is written, gaining a readership of people who may not otherwise choose to read biography or are unfamiliar with its form.

Here are some famous examples of biographical works that are familiar to many readers outside of biography fans:

• Alexander Hamilton (Ron Chernow)
• Prairie Fires: The American Dreams of Laura Ingalls Wilder (Caroline Fraser)
• Steve Jobs (Walter Isaacson)
• Churchill: A Life (Martin Gilbert)
• The Professor and the Madman: A Tale of Murder, Insanity, and the Making of the Oxford English Dictionary (Simon Winchester)
• A Beautiful Mind (Sylvia Nasar)
• The Black Rose (Tananarive Due)
• John Adams (David McCullough)
• Into the Wild ( Jon Krakauer )
• John Brown (W.E.B. Du Bois)
• Frida: A Biography of Frida Kahlo (Hayden Herrera)
• The Immortal Life of Henrietta Lacks (Rebecca Skloot)
• Team of Rivals: The Political Genius of Abraham Lincoln (Doris Kearns Goodwin)
• Shirley Jackson : A Rather Haunted Life ( Ruth Franklin)
• the stranger in the Woods: The Extraordinary Story of the Last True Hermit (Michael Finkel)

Difference Between Biography, Autobiography, and Memoir

Biography, autobiography , and memoir are the three main forms used to tell the story of a person’s life. Though there are similarities between these forms, they have distinct differences in terms of the writing, style , and purpose.

A biography is an informational narrative and account of the life history of an individual person, written by someone who is not the subject of the biography. An autobiography is the story of an individual’s life, written by that individual. In general, an autobiography is presented chronologically with a focus on key events in the person’s life. Since the writer is the subject of an autobiography, it’s written in the first person and considered more subjective than objective, like a biography. In addition, autobiographies are often written late in the person’s life to present their life experiences, challenges, achievements, viewpoints, etc., across time.

Memoir refers to a written collection of a person’s significant memories, written by that person. Memoir doesn’t generally include biographical information or chronological events unless it’s relevant to the story being presented. The purpose of memoir is reflection and an intention to share a meaningful story as a means of creating an emotional connection with the reader. Memoirs are often presented in a narrative style that is both entertaining and thought-provoking.

Examples of Biography in Literature

An important subset of biography is literary biography. A literary biography applies biographical study and form to the lives of artists and writers. This poses some complications for writers of literary biographies in that they must balance the representation of the biographical subject, the artist or writer, as well as aspects of the subject’s literary works. This balance can be difficult to achieve in terms of judicious interpretation of biographical elements within an author’s literary work and consideration of the separate spheres of the artist and their art.

Literary biographies of artists and writers are among some of the most interesting biographical works. These biographies can also be very influential for readers, not only in terms of understanding the artist or writer’s personal story but the context of their work or literature as well. Here are some examples of well-known literary biographies:

Example 1:  Savage Beauty: The Life of Edna St. Vincent Millay  (Nancy Milford)

One of the first things Vincent explained to Norma was that there was a certain freedom of language in the Village that mustn’t shock her. It wasn’t vulgar. ‘So we sat darning socks on Waverly Place and practiced the use of profanity as we stitched. Needle in, . Needle out, piss. Needle in, . Needle out, c. Until we were easy with the words.’

This passage reflects the way in which Milford is able to characterize St. Vincent Millay as a person interacting with her sister. Even avid readers of a writer’s work are often unaware of the artist’s private and personal natures, separate from their literature and art. Milford reflects the balance required on the part of a literary biographer of telling the writer’s life story without undermining or interfering with the meaning and understanding of the literature produced by the writer. Though biographical information can provide some influence and context for a writer’s literary subjects, style, and choices , there is a distinction between the fictional world created by a writer and the writer’s “real” world. However, a literary biographer can illuminate the writer’s story so that the reader of both the biography and the biographical subject’s literature finds greater meaning and significance.

Example 2:  The Invisible Woman: The Story of Nelly Ternan and Charles Dickens  (Claire Tomalin)

The season of domestic goodwill and festivity must have posed a problem to all good Victorian family men with more than one family to take care of, particularly when there were two lots of children to receive the demonstrations of paternal love.

Tomalin’s literary biography of Charles Dickens reveals the writer’s extramarital relationship with a woman named Nelly Ternan. Tomalin presents the complications that resulted for Dickens from this relationship in terms of his personal and family life as well as his professional writing and literary work. Revealing information such as an extramarital relationship can influence the way a reader may feel about the subject as a person, and in the case of literary biography it can influence the way readers feel about the subject’s literature as well. Artists and writers who are beloved , such as Charles Dickens, are often idealized by their devoted readers and society itself. However, as Tomalin’s biography of Dickens indicates, artists and writers are complicated and as subject to human failings as anyone else.

Example 3:  Virginia Woolf  (Hermione Lee)

‘A self that goes on changing is a self that goes on living’: so too with the biography of that self. And just as lives don’t stay still, so life-writing can’t be fixed and finalised. Our ideas are shifting about what can be said, our knowledge of human character is changing. The biographer has to pioneer, going ‘ahead of the rest of us, like the miner’s canary, testing the atmosphere , detecting falsity, unreality, and the presence of obsolete conventions’. So, ‘There are some stories which have to be retold by each generation’. She is talking about the story of Shelley, but she could be talking about her own life-story.

In this passage, Lee is able to demonstrate what her biographical subject, Virginia Woolf, felt about biography and a person telling their own or another person’s story. Literary biographies of well-known writers can be especially difficult to navigate in that both the author and biographical subject are writers, but completely separate and different people. As referenced in this passage by Lee, Woolf was aware of the subtleties and fluidity present in a person’s life which can be difficult to judiciously and effectively relay to a reader on the part of a biographer. In addition, Woolf offers insight into the fact that biographers must make choices in terms of what information is presented to the reader and the context in which it is offered, making them a “miner’s canary” as to how history will view and remember the biographical subject.

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Literary Devices

Literary devices, terms, and elements, definition of biography.

A biography is a description of a real person’s life, including factual details as well as stories from the person’s life. Biographies usually include information about the subject’s personality and motivations, and other kinds of intimate details excluded in a general overview or profile of a person’s life. The vast majority of biography examples are written about people who are or were famous, such as politicians, actors, athletes, and so on. However, some biographies can be written about people who lived incredible lives, but were not necessarily well-known. A biography can be labelled “authorized” if the person being written about, or his or her family members, have given permission for a certain author to write the biography.

The word biography comes from the Greek words bios , meaning “life” and – graphia , meaning “writing.”

Difference Between Biography and Autobiography

A biography is a description of a life that is not the author’s own, while an autobiography is the description of a writer’s own life. There can be some gray area, however, in the definition of biography when a ghostwriter is employed. A ghostwriter is an author who helps in the creation of a book, either collaborating with someone else or doing all of the writing him- or herself. Some famous people ask for the help of a ghostwriter to create their own autobiographies if they are not particularly gifted at writing but want the story to sound like it’s coming from their own mouths. In the case of a ghostwritten autobiography, the writer is not actually writing about his or her own life, but has enough input from the subject to create a work that is very close to the person’s experience.

Common Examples of Biography

The genre of biography is so popular that there is even a cable network originally devoted to telling the stories of famous people’s lives (fittingly called The Biography Channel). The stories proved to be such good television that other networks caught on, such as VH1 producing biographies under the series name “Behind the Music.” Some examples of written biographies have become famous in their own right, such as the following books:

• Alexander Hamilton by Ron Chernow (made even more famous by the musical “Hamilton,” created by Lin-Manuel Miranda)
• Unbroken by Laura Hillenbrand
• Steve Jobs by Walter Isaacson
• Into the Wild by Jon Krakauer
• The Immortal Life of Henrietta Lacks by Rebecca Skloot
• Mountains Beyond Mountains: The Quest of Dr. Paul Farmer, A Man Who Would Cure the World by Tracy Kidder
• Three Cups of Tea: One Man’s Mission to Promote Peace … One School at a Time by Greg Mortenson

Significance of Biography in Literature

The genre of biography developed out of other forms of historical nonfiction, choosing to focus on one specific person’s experience rather than all important players. There are examples of biography all the way back to 44 B.C. when Roman biographer Cornelius Nepos wrote Excellentium Imperatorum Vitae (“Lives of those capable of commanding”). The Greek historian Plutarch was also famous for his biographies, creating a series of biographies of famous Greeks and Romans in his book Parallel Lives . After the printing press was created, one of the first “bestsellers” was the 1550 famous biography Lives of the Artists by Giorgio Vasari. Biography then got very popular in the 18th century with James Boswell’s 1791 publication of The Life of Samuel Johnson . Biography continues to be one of the best selling genres in literature, and has led to a number of literary prizes specifically for this form.

Examples of Biography in Literature

And I can imagine Farmer saying he doesn’t care if no one else is willing to follow their example. He’s still going to make these hikes, he’d insist, because if you say that seven hours is too long to walk for two families of patients, you’re saying that their lives matter less than some others’, and the idea that some lives matter less is the root of all that’s wrong with the world.

( Mountains Beyond Mountains: The Quest of Dr. Paul Farmer, A Man Who Would Cure the World by Tracy Kidder)

Tracy Kidder’s wonderful example of biography, Mountains Beyond Mountains , brought the work of Dr. Paul Farmer to a wider audience. Dr. Farmer cofounded the organization Partners in Health (PIH) in 1987 to provide free treatment to patients in Haiti; the organization later created similar projects in countries such as Russia, Peru, and Rwanda. Dr. Farmer was not necessarily a famous man before Tracy Kidder’s biography was published, though he was well-regarded in his own field. The biography describes Farmer’s work as well as some of his personal life.

On July 2, McCandless finished reading Tolstoy’s “Family Happiness”, having marked several passages that moved him: “He was right in saying that the only certain happiness in life is to live for others…” Then, on July 3, he shouldered his backpack and began the twenty-mile hike to the improved road. Two days later, halfway there, he arrived in heavy rain at the beaver ponds that blocked access to the west bank of the Teklanika River. In April they’d been frozen over and hadn’t presented an obstacle. Now he must have been alarmed to find a three-acre lake covering the trail.

( Into the Wild by Jon Krakauer)

Jon Krakauer is a writer and outdoorsman famous for many nonfiction books, including his own experience in a mountaineering disaster on Mount Everest in 1996. His book Into the Wild is a nonfiction biography of a young boy, Christopher McCandless who chose to donate all of his money and go into the wilderness in the American West. McCandless starved to death in Denali National Park in 1992. The biography delved into the facts surrounding McCandless’s death, as well as incorporating some of Krakauer’s own experience.

A commanding woman versed in politics, diplomacy, and governance; fluent in nine languages; silver-tongued and charismatic, Cleopatra nonetheless seems the joint creation of Roman propagandists and Hollywood directors.

( Cleopatra: A Life by Stacy Schiff)

Stacy Schiff wrote a new biography of Cleopatra in 2010 in order to divide fact from fiction, and go back to the amazing and intriguing personality of the woman herself. The biography was very well received for being both scrupulously referenced as well as highly literary and imaginative.

Confident that he was clever, resourceful, and bold enough to escape any predicament, [Louie] was almost incapable of discouragement. When history carried him into war, this resilient optimism would define him.

( Unbroken: A World War II Story of Survival, Resilience, and Redemption by Laura Hillenbrand)

Laura Hillenbrand’s bestselling biography Unbroken covers the life of Louis “Louie” Zamperini, who lived through almost unbelievable circumstances, including running in the 1936 Summer Olympics in Berlin, being shot down as a bomber in WWII, surviving in a raft in the ocean for 47 days, and then surviving Japanese prisoner of war camps. Zamperini’s life story is one of those narratives that is “stranger than fiction” and Hillenbrand brings the drama brilliantly to the reader.

I remember sitting in his backyard in his garden, one day, and he started talking about God. He [Jobs] said, “ Sometimes I believe in God, sometimes I don’t. I think it’s 50/50, maybe. But ever since I’ve had cancer, I’ve been thinking about it more, and I find myself believing a bit more, maybe it’s because I want to believe in an afterlife, that when you die, it doesn’t just all disappear. The wisdom you’ve accumulated, somehow it lives on.”

( Steve Jobs by Walter Isaacson)

Steve Jobs is one of the most famous cultural icons of modern-day America and, indeed, around the world, and thus his biography was eagerly awaited. The author, Walter Isaacson, was able to interview Jobs extensively during the writing process. Thus, the above excerpt is possible where the writer is a character in the story himself, asking Jobs about his views on life and philosophy of the world.

Test Your Knowledge of Biography

1. Which of the following statements is the best biography definition? A. A retelling of one small moment from another person’s life. B. A novel which details one specific character’s full life. C. A description of a real person’s entire life, written by someone else.

2. Which of the following scenarios qualifies as a biography? A. A famous person contracts a ghostwriter to create an autobiography. B. A famous author writes the true and incredible life story of a little known person. C. A writer creates a book detailing the most important moments in her own life.

3. Which of the following statements is true? A. Biographies are one of the best selling genres in contemporary literature. B. Biographies are always written about famous people. C. Biographies were first written in the 18th century.

Definition of Biography

A biography is simply an account or detailed description about the life of a person. It entails basic facts, such as childhood, education, career, relationships, family, and death. Biography is a literary genre that portrays the experiences of all these events occurring in the life of a person, mostly in a chronological order. Unlike a resume or profile, a biography provides a life story of a subject, highlighting different aspects of his of her life. A person who writes biographies, is called as a “biographer.”

Types of Biography

There are three types of biography:

Autobiography

An autobiography tells the story of a person’s own life. While that person writes his own account, he or she may take guidance from a ghostwriter or collaborator.

A biography narrates the life story of a person, as written by another person or writer. It is further divided into five categories:

• Popular biography
• Historical biography
• Literary biography
• Reference biography
• Fictional biography

This is a more focused writing than an autobiography or a biography. In a memoir , a writer narrates the details of a particular event or situation that occurred in his or her lifetime.

Examples of Biography in Literature

Example #1: shakespeare: a life (by park honan).

This biography is the most accurate, up-to-date, and complete narrative ever written about the life of William Shakespeare. Park Honan has used rich and fresh information about Shakespeare in order to change the perceptions of readers for the playwright, and his role as a poet and actor.

This book completely differs from other biographies that imagine different roles for him, commenting on his sexual relationships and colorful intrigues. Though detailed psychological theories and imaginative reforms about the famous playwright could be amusing, in fact, they damage the credibility of the sources. Therefore, many attempts have been made to know about Shakespeare, but this one is a unique example.

Example #2: Arthur Miller: Attention Must Be Paid (By James Campbell)

This biography is written in the form of a drama , presented in just two acts. In the first act, the author shows the famous dramatist, Arthur Miller, in his early success, having the love of the most beloved woman in the world, and resisting tyranny. However, in the second act of this biography, the author shows that the hero was badly assaulted and ridiculed by a rowdy mob called critics, who are expelled from the conventional theater. He ends his book with rhetorical details related to a revitalization in the fortunes of the playwright.

Example #3: The Life of Samuel Johnson (By James Boswell)

This biography is frequently hyped as a perfect example of modern biography, and all-time best example in the English language. This masterpiece of James Boswell has covered the whole life of the ubiquitous literary writer Samuel Johnson, with whom Boswell was well-acquainted. The unique quality of this book is that it shows Johnson as a walking intellectual amongst us.

Example #4: The Bronte Myth (By­­­­­­­­­­­­­­­­­­­ Lucasta Miller)

Emily, Anne, and Charlotte Bronte were very famous and eminent writers in the history of English literature. Many rumors and gossips were associated with them when they reached the peaks of their careers and received great approval for writing the most admired novels of the nineteenth century. In their biography, Lucasta Miller chunks the myths related to these young enigmatic women. This is a fine example of a biography.

Example #5: Why this World: A Biography of Clarice Lispector (By­­­­­­­­­­­­­­­­­­­ Benjamin Moser)

After perusing his own private manuscripts and writings, this modernist writer, Benjamin Moser, has explored the mystique surrounding Brazilian writer Clarice Lispector. This is one of Moser’s biographies, which comes a little closer to finding her true nuances. All those readers who are going to read her myriad of works for the first time would find this biography interesting, and her life as beautiful and tragic, yet riveting.

Function of Biography

The function of writing biographies is to provide details regarding the life of a person or a thing in an entertaining but informative manner. By the end of a biography, readers feel like they are well-acquainted with the subject. Biographies are often non-fictional, but many biographers also use novel-like format, because a story line would be more entertaining with the inclusion of strong exposition , rising conflict , and then climax . Besides, the most inspirational life stories could motivate and put confidence into the readers.

Definition of Biography A biography is genuinely an account or particular description about the existence of a person. It entails primary facts, along with childhood, education, career, relationships, family, and death. Biography is a literary genre that portrays the reports of most of these occasions occurring inside the existence of someone, commonly in a chronological order. Unlike a resume or profile, a biography presents a lifestyles story of a subject, highlighting one of a kind components of his of her life. A individual who writes biographies, is known as as a “biographer.” Types of Biography There are three styles of biography: Autobiography An autobiography tells the tale of someone’s own existence. While that individual writes his own account, she or he may additionally take guidance from a ghostwriter or collaborator. Biography A biography narrates the existence tale of someone, as written with the aid of another man or woman or writer. It is in addition divided into five categories: Popular biography Historical biography Literary biography Reference biography Fictional biography Memoir This is a more focused writing than an autobiography or a biography. In a memoir, a creator narrates the info of a particular occasion or situation that happened in his or her lifetime. Examples of Biography in Literature Example #1: Shakespeare: A Life (By Park Honan) This biography is the maximum accurate, up-to-date, and entire narrative ever written approximately the existence of William Shakespeare. Park Honan has used wealthy and fresh data approximately Shakespeare that allows you to change the perceptions of readers for the playwright, and his function as a poet and actor. This e book absolutely differs from other biographies that imagine unique roles for him, commenting on his sexual relationships and colorful intrigues. Though precise psychological theories and imaginitive reforms about the well-known playwright might be amusing, in fact, they damage the credibility of the sources. Therefore, many attempts were made to recognise about Shakespeare, however this one is a completely unique instance. Example #2: Arthur Miller: Attention Must Be Paid (By James Campbell) This biography is written in the shape of a drama, presented in only two acts. In the first act, the author indicates the well-known dramatist, Arthur Miller, in his early success, having the love of the maximum beloved lady in the world, and resisting tyranny. However, inside the second act of this biography, the author indicates that the hero was badly assaulted and ridiculed through a rowdy mob called critics, who are expelled from the conventional theater. He ends his book with rhetorical information associated with a revitalization within the fortunes of the playwright. Example #3: The Life of Samuel Johnson (By James Boswell) This biography is frequently hyped as a perfect example of cutting-edge biography, and all-time exceptional instance in the English language. This masterpiece of James Boswell has included the complete existence of the ever present literary author Samuel Johnson, with whom Boswell turned into well-acquainted. The unique satisfactory of this book is that it suggests Johnson as a taking walks highbrow amongst us. Example #4: The Bronte Myth (By­­­­­­­­­­­­­­­­­­­ Lucasta Miller) Emily, Anne, and Charlotte Bronte had been very well-known and eminent writers within the history of English literature. Many rumors and gossips have been associated with them once they reached the peaks in their careers and received amazing popularity of writing the maximum popular novels of the nineteenth century. In their biography, Lucasta Miller chunks the myths related to these younger enigmatic women. This is a best example of a biography. Example #5: Why this World: A Biography of Clarice Lispector (By­­­­­­­­­­­­­­­­­­­ Benjamin Moser) After perusing his personal personal manuscripts and writings, this modernist author, Benjamin Moser, has explored the mystique surrounding Brazilian writer Clarice Lispector. This is one of Moser’s biographies, which comes a little towards finding her real nuances. All those readers who are going to examine her myriad of works for the first time could locate this biography interesting, and her existence as lovely and tragic, but riveting. Function of Biography The function of writing biographies is to provide information concerning the life of a person or a component in an interesting but informative manner. By the stop of a biography, readers feel like they're well-familiar with the subject. Biographies are regularly non-fictional, however many biographers also use novel-like format, due to the fact a tale line could be greater pleasing with the inclusion of sturdy exposition, rising conflict, after which climax. Besides, the most inspirational existence testimonies could motivate and put confidence into the readers.

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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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• Narratology
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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

What Is a Biography? Definition & 25+ Examples

Have you ever wondered what lies beneath the surface of history’s most influential figures?

Imagine a chance to delve into the intricate tapestry of their lives, unraveling the threads that have woven together the very essence of their character, and unearthing the pivotal moments that shaped their destinies.

Welcome to the enthralling world of biographies, where you are invited to embark on a captivating journey into the lives of the extraordinary. Prepare to be captivated by the compelling tales of human resilience, ingenuity, and ambition that lie at the heart of each biography.

Table of Contents

Defining Biography

A biography is a detailed account of a person’s life, written by someone other than the subject. The term “biography” is derived from two Greek words: “bio,” which means life, and “graphy,” which signifies writing. Thus, a biography is the written history of someone’s life, offering an in-depth look at their experiences, achievements, and challenges.

Biographies typically focus on the life of notable individuals, such as historical figures or celebrities, and provide a comprehensive view of their personal and professional journey.

Biographers, the authors of these works, aim to offer an accurate, well-researched portrayal of their subjects by studying various sources and conducting interviews if possible. This thorough research and attention to detail ensure that the resulting narrative is both informative and engaging.

Biographies are a subgenre of non-fiction literature, as they chronicle the lives of real people. However, not all life stories fall under the category of biography.

Autobiographies and memoirs, for instance, focus on the author’s own experiences and are written from a first-person perspective. While autobiographies aim to present an overarching narrative of the author’s life, memoirs tend to focus on specific incidents or periods.

When crafting a biography, it is essential for the biographer to maintain a neutral tone, avoiding any judgment or personal bias. This objectivity allows readers to form their opinions based on the presented facts, gaining a broader understanding of the subject.

Elements of a Biography

A well-crafted biography contains several key elements that provide a comprehensive picture of the subject’s life. These elements help readers gain a deeper understanding of the subject while fostering an emotional connection. Below are some essential aspects of a biography:

Personal and Family Background

The personal and family background section of a biography provides an essential foundation for understanding the subject’s journey and the factors that shaped their life. By exploring the subject’s early years, readers gain insight into the environment and experiences that influenced their character, values, and aspirations.

This section typically begins with an overview of the subject’s birthplace, family origins, and cultural heritage. It delves into the family dynamics, including descriptions of the subject’s parents, siblings, and extended family, shedding light on the relationships that played a crucial role in their development.

The personal and family background section also addresses significant life events, challenges, and milestones that occurred during the subject’s upbringing. These formative experiences may include pivotal moments, such as moving to a new city, attending a particular school, or encountering a mentor who had a lasting impact on their life.

Education and Career

The education and career section of a biography is crucial for understanding the intellectual and professional development of the subject. By tracing the subject’s academic journey and career progression, readers gain a clearer picture of the knowledge, skills, and experiences that shaped their path and contributed to their success.

This section begins by outlining the subject’s educational background, including the schools they attended, the degrees or qualifications they obtained, and any specialized training they received. It also highlights the subject’s academic achievements, such as scholarships, awards, or distinctions, and any influential mentors or teachers who played a significant role in their intellectual growth.

The education and career section also delves into the subject’s professional life, chronicling their work history, job titles, and key responsibilities. It explores the subject’s career trajectory, examining how they transitioned between roles or industries and the factors that influenced their choices.

Major Events and Turning Points

The major events and turning points section of a biography delves into the pivotal moments and experiences that significantly influenced the subject’s life, shaping their character, values, and destiny.

By exploring these transformative events, readers gain a deeper understanding of the forces and circumstances that drove the subject’s actions and choices, as well as the challenges and triumphs they faced along the way.

This section encompasses a wide range of events, which could include personal milestones, such as marriage, the birth of children, or the loss of a loved one.

These personal events often provide insights into the subject’s emotional landscape and reveal the support systems, relationships, and personal values that sustained them through difficult times or propelled them to greater heights.

Influences and Inspirations

The influences and inspirations section of a biography delves into the individuals, ideas, and events that had a profound impact on the subject’s beliefs, values, and aspirations.

By understanding the forces that shaped the subject’s worldview, readers gain a deeper appreciation for the motivations driving their actions and decisions, as well as the creative and intellectual foundations upon which their accomplishments were built.

This section often begins by identifying the key figures who played a significant role in the subject’s life, such as family members, mentors, peers, or historical figures they admired.

It explores the nature of these relationships and how they shaped the subject’s perspectives, values, and ambitions. These influential individuals can provide valuable insights into the subject’s personal growth and development, revealing the sources of inspiration and guidance that fueled their journey.

The influences and inspirations section also delves into the ideas and philosophies that resonated with the subject and shaped their worldview. This could include an exploration of the subject’s religious, political, or philosophical beliefs, as well as the books, theories, or artistic movements that inspired them.

This section examines the events, both personal and historical, that impacted the subject’s life and inspired their actions. These could include moments of personal transformation, such as a life-altering experience or an epiphany, or broader societal events, such as wars, social movements, or technological innovations.

Contributions and Impact

The contributions and impact section of a biography is pivotal in conveying the subject’s lasting significance, both in their chosen profession and beyond. By detailing their achievements, innovations, and legacies, this section helps readers grasp the extent of the subject’s influence and the ways in which their work has shaped the world around them.

This section begins by highlighting the subject’s key accomplishments within their profession, such as breakthroughs, discoveries, or innovative techniques they developed. It delves into the processes and challenges they faced along the way, providing valuable insights into their creativity, determination, and problem-solving abilities.

The contributions and impact section also explores the subject’s broader influence on society, culture, or the world at large. This could include their involvement in social or political movements, their philanthropic endeavors, or their role as a cultural icon.

In addition to discussing the subject’s immediate impact, this section also considers their lasting legacy, exploring how their work has continued to inspire and shape subsequent generations.

This could involve examining the subject’s influence on their successors, the institutions or organizations they helped establish, or the enduring relevance of their ideas and achievements in contemporary society.

Personal Traits and Characteristics

The personal traits and characteristics section of a biography brings the subject to life, offering readers an intimate glimpse into their personality, qualities, and views.

This section often begins by outlining the subject’s defining personality traits, such as their temperament, values, and passions. By exploring these attributes, readers gain insight into the subject’s character and the motivations driving their actions and decisions.

These qualities could include their perseverance, curiosity, empathy, or sense of humor, which may help explain their achievements, relationships, and outlook on life.

The personal traits and characteristics section also delves into the subject’s views and beliefs, offering a window into their thoughts and opinions on various topics. This could include their perspectives on politics, religion, culture, or social issues, providing readers with a clearer understanding of the context in which they operated and the factors that shaped their worldview.

Anecdotes and personal stories play a crucial role in illustrating the subject’s personality and characteristics, as they offer concrete examples of their behavior, actions, or interactions with others.

Quotes and first-hand accounts from the subject or those who knew them well can also be invaluable in portraying their personal traits and characteristics. These accounts offer unique insights into the subject’s thoughts, feelings, and experiences, allowing readers to see the world through their eyes and better understand their character.

Types of Biographies

Biographies come in various forms and styles, each presenting unique perspectives on the lives of individuals. Some of the most common types of biographies are discussed in the following sub-sections.

Historical Fiction Biography

Historical fiction biographies artfully weave together factual information with imaginative elements, creating a vibrant tapestry of the past. By staying true to the core of a historical figure’s life and accomplishments, these works offer a unique window into their world while granting authors the creative freedom to delve deeper into their emotions, relationships, and personal struggles.

Such biographies strike a delicate balance, ensuring that the essence of the individual remains intact while allowing for fictional embellishments to bring their story to life. This captivating blend of fact and fiction serves to humanize these iconic figures, making their experiences more relatable and engaging for readers who embark on a journey through the pages of history.

Here are several examples of notable historical fiction biographies:

• “Wolf Hall” by Hilary Mantel (2009)
• “The Paris Wife” by Paula McLain (2011)
• “Girl with a Pearl Earring” by Tracy Chevalier (1999)
• “The Other Boleyn Girl” by Philippa Gregory (2001)
• “Loving Frank” by Nancy Horan (2007)

Academic Biography

Academic biographies stand as meticulously researched and carefully crafted scholarly works, dedicated to presenting an accurate and comprehensive account of a subject’s life.

Authored by experts or researchers well-versed in their field, these biographies adhere to rigorous standards of accuracy, sourcing, and objectivity. They delve into the intricacies of a person’s life, achievements, and impact, scrutinizing every aspect with scholarly precision.

Intended for an educated audience, academic biographies serve as valuable resources for those seeking a deeper understanding of the subject’s contributions and influence. By placing the individual within the broader context of their time, these works illuminate the complex web of factors that shaped their lives and legacies.

While academic biographies may not always carry the same narrative flair as their fictional counterparts, their commitment to factual integrity and thorough analysis make them indispensable resources for scholars, students, and enthusiasts alike

Here are several examples of notable academic biographies:

• “Einstein: His Life and Universe” by Walter Isaacson (2007)
• “Steve Jobs” by Walter Isaacson (2011)
• “John Adams” by David McCullough (2001)
• “Alexander the Great” by Robin Lane Fox (1973)
• “Marie Curie: A Life” by Susan Quinn (1995)

Authorized Biographies

Authorized biographies offer a unique perspective on the lives of their subjects, as they are written with the explicit consent and, often, active participation of the individual in question.

This collaboration between the biographer and the subject can lead to a more accurate, detailed, and intimate portrayal of the person’s life, as the author is granted access to a wealth of personal information, documents, and anecdotes that might otherwise be inaccessible.

When working on an authorized biography, the biographer is typically given permission to access personal documents, such as letters, diaries, and photographs, which can provide invaluable insights into the subject’s thoughts, emotions, and experiences.

This primary source material allows the biographer to construct a narrative that is grounded in fact and captures the essence of the individual’s life and personality.

Here are several examples of notable authorized biographies:

• “Mandela: The Authorized Biography” by Anthony Sampson (1999)
• “Marilyn Monroe: The Biography” by Donald Spoto (1993)
• “Joni Mitchell: In Her Own Words” by Malka Marom (2014)
• “The Snowball: Warren Buffett and the Business of Life” by Alice Schroeder (2008)
• “Notorious RBG: The Life and Times of Ruth Bader Ginsburg” by Irin Carmon and Shana Knizhnik (2015)

Fictionalized Academic Biography

Fictionalized academic biographies merge the best of both worlds, combining the rigorous research and scholarly integrity of academic biographies with the engaging storytelling of historical fiction.

Authors of these works expertly navigate the delicate balance between maintaining factual accuracy and venturing into the realm of imagination.

This approach allows them to explore the subject’s personal life, relationships, and the broader historical context in a compelling manner, while ensuring the narrative remains firmly rooted in well-researched facts.

Here are several examples of notable fictionalized academic biographies:

• “The Women” by T.C. Boyle (2009)
• “Z: A Novel of Zelda Fitzgerald” by Therese Anne Fowler (2013)
• “The Marriage of Opposites” by Alice Hoffman (2015)
• “Vanessa and Her Sister” by Priya Parmar (2014)
• “The Last Days of Night” by Graham Moore (2016)

Prophetic Biography

Prophetic biographies delve into the rich and profound narratives of religious figures or prophets, meticulously weaving together insights from sacred texts, religious traditions, and historical accounts.

By providing a comprehensive portrayal of the individual’s life, teachings, and impact on society, these biographies serve as an invaluable resource for understanding the pivotal role these figures played in shaping the course of religious history and the lives of the faithful.

Here are several examples of notable prophetic biographies:

• “Muhammad: His Life Based on the Earliest Sources” by Martin Lings (1983)
• “The Life of Moses” by F.B. Meyer (1893)
• “The Life of the Buddha: According to the Pali Canon” by Bhikkhu Ñāṇamoli (1972)
• “The Quest of the Historical Jesus” by Albert Schweitzer (1906)
• “The Lives of the Saints” by Alban Butler (1756)

Biography Development Process

A biography is a comprehensive written account of an individual’s life, and the development process involves several essential components to ensure the biography’s accuracy and readability.

A biographer’s primary responsibility is to conduct extensive research in order to gather a comprehensive array of facts about the subject. This meticulous process involves reviewing various documents and sources that shed light on the individual’s life and experiences, as well as the historical context in which they lived.

Key documents, such as birth and death certificates, provide essential information about the subject’s origins and family background. Personal correspondence, letters, and diaries offer invaluable insights into the subject’s thoughts, emotions, relationships, and experiences. News articles, on the other hand, can reveal public perceptions of the subject, as well as their impact on society and culture.

Archives often serve as treasure troves of information for biographers, as they contain a wealth of primary sources that can help illuminate the subject’s life and times. These archives may include collections of personal papers, photographs, audio recordings, and other materials that offer first-hand accounts of the individual’s experiences or shed light on their accomplishments and impact.

Consulting relevant books and articles is another crucial aspect of a biographer’s research process, as these secondary sources provide context, analysis, and interpretation of the subject’s life and work.

By delving into the existing scholarship and engaging with the works of other researchers, biographers can solidify their understanding of the individual and the historical circumstances in which they lived.

Interviewing people who knew the subject personally is a vital component of a biographer’s research process, as it allows them to access unique insights, personal stories, and firsthand accounts of the individual’s life.

Friends, family members, co-workers, and colleagues can all offer valuable perspectives on the subject’s character, relationships, achievements, and challenges, thereby enriching the biographer’s understanding of their life and experiences.

While subjective anecdotes offer a more intimate glimpse into the subject’s personality and personal life, it is essential for biographers to balance these accounts with factual research.

By corroborating and contextualizing personal stories with objective information gleaned from primary and secondary sources, biographers can ensure that their portrayal of the individual’s life remains accurate and well-rounded.

This process of balancing subjective anecdotes with factual research also allows biographers to present a more nuanced and comprehensive view of their subject. By weaving together personal stories with historical context, biographers can create a richer and more engaging narrative that captures the complexity and multifaceted nature of the individual’s life.

In addition, by considering various perspectives and sources of information, biographers can address potential biases or discrepancies in their account, resulting in a more reliable and credible portrayal of the subject.

This careful attention to detail and commitment to accuracy not only enhances the quality of the biography but also helps establish trust between the biographer and their readers.

Chronological Narration

Organizing a biography in a chronological manner is a highly effective approach, as it allows readers to follow the subject’s life events in a logical and coherent sequence.

By presenting the information in a linear fashion, the biographer enables readers to trace the subject’s journey from their early years to their later accomplishments, making it easier to understand the context and progression of their life.

To effectively arrange a chronological narrative, the biographer should begin by highlighting significant milestones and accomplishments in the subject’s life. These key events serve as anchor points in the story, helping to structure the narrative and maintain the reader’s interest.

By focusing on these pivotal moments, the biographer can illustrate the subject’s growth, development, and achievements over time, providing a clear and engaging overview of their life’s trajectory.

Contextualization

Contextualizing the subject within their historical and cultural framework is a crucial aspect of biographical writing, as it enables readers to gain a deeper understanding of the individual’s life, choices, and significance.

Embedding the subject within their historical context involves examining the political, social, and economic landscape of the time. This includes exploring major events, trends, and issues that affected the subject’s life and decisions, such as wars, social movements, technological advancements, or cultural shifts.

Additionally, considering the subject’s cultural context is essential for understanding their beliefs, values, and creative expression. This involves examining the artistic, intellectual, and philosophical currents of the time, which may have influenced the subject’s work, ideas, or relationships.

Moreover, contextualizing the subject within their historical and cultural framework can help to humanize them, revealing the complexities, contradictions, and struggles that are often inherent in the human experience.

This approach offers readers a more nuanced and empathetic understanding of the subject, allowing them to see the person as a product of their time and circumstances, rather than as an isolated figure.

Famous Biographies and Biographers

The life of samuel johnson, ll.d. by james boswell (1791).

“The Life of Samuel Johnson, LL.D.” is a biography of the English writer and literary critic Samuel Johnson, written by his friend and contemporary James Boswell. Published in 1791, it is often considered one of the greatest biographies in the English language and a pioneering work in the development of modern biography as a literary genre.

Samuel Johnson (1709-1784) was a prominent figure in 18th-century English literature, known for his wide-ranging knowledge, wit, and moral authority. He is best remembered for his dictionary, “A Dictionary of the English Language,” published in 1755, which became the standard English dictionary for over a century. He was also a prolific essayist, poet, and critic.

James Boswell (1740-1795) was a Scottish lawyer, diarist, and author who became friends with Johnson in 1763. Over the course of their friendship, Boswell made detailed notes of their conversations and observations, which he later used as the basis for his biography.

“The Life of Samuel Johnson, LL.D.” is a comprehensive and vivid portrait of Johnson’s life, character, and work. Boswell covers Johnson’s early years, education, and struggles with poverty and illness, as well as his rise to prominence as a writer and his involvement in the vibrant literary circles of 18th-century London.

The biography also delves into Johnson’s friendships and relationships, including his long association with Hester Thrale, a prominent society hostess, and writer.

What sets Boswell’s biography apart is his skill in capturing Johnson’s personality, wit, and conversation. By presenting Johnson’s thoughts and opinions on a wide range of topics, as well as anecdotes and reminiscences from those who knew him, Boswell creates a vivid and engaging portrait of his subject.

The Immortal Life of Henrietta Lacks (2010)

“The Immortal Life of Henrietta Lacks” is a non-fiction book written by Rebecca Skloot, published in 2010. The book tells the story of Henrietta Lacks, an African American woman whose cancer cells were taken without her knowledge or consent during a biopsy in 1951. These cells, known as HeLa cells, became the first immortal human cell line, reproducing indefinitely under laboratory conditions.

HeLa cells have been used extensively in medical research, contributing to significant scientific breakthroughs, such as the development of the polio vaccine, gene mapping, and cancer research.

Henrietta Lacks was a young mother of five when she was diagnosed with an aggressive form of cervical cancer at the age of 31. She received treatment at Johns Hopkins Hospital in Baltimore, where a sample of her cancerous tissue was taken without her knowledge. Henrietta passed away in 1951, but her cells continued to live on, revolutionizing medical research.

Rebecca Skloot spent more than a decade researching Henrietta Lacks’ life and the scientific history of HeLa cells. Skloot also interviewed Lacks’ surviving family members, who were unaware of Henrietta’s contribution to science until the 1970s.

The book explores the ethical issues surrounding the use of human tissue in research, the question of consent, and the lack of compensation for the Lacks family.

Alexander Hamilton by Ron Chernow (2004)

“Alexander Hamilton” is a comprehensive biography of the American Founding Father Alexander Hamilton, written by historian and biographer Ron Chernow. Published in 2004, the book provides an in-depth look into Hamilton’s life, from his humble beginnings in the West Indies to his significant contributions as a statesman, economist, and influential figure in early American history.

Chernow’s biography delves into Hamilton’s early life as an orphan in the Caribbean, his immigration to the American colonies, and his education. It also explores his involvement in the American Revolutionary War, where he served as an aide to General George Washington and later as an artillery officer.

The book details Hamilton’s role in the development of the United States Constitution and his work as the first Secretary of the Treasury under President Washington, where he was instrumental in establishing the nation’s financial system.

“Alexander Hamilton” also examines Hamilton’s personal life, including his relationships, marriage, and infamous extramarital affair, as well as his longstanding political rivalries with figures such as Thomas Jefferson, James Madison, and Aaron Burr. The biography concludes with the story of Hamilton’s tragic death in a duel with Burr in 1804.

It received critical acclaim and won several awards, including the George Washington Book Prize. The biography also inspired Lin-Manuel Miranda to create the hit Broadway musical “Hamilton,” which premiered in 2015 and went on to achieve widespread popularity and numerous accolades, further solidifying Alexander Hamilton’s place in popular culture and history.

Notable Biographies in Different Fields

Science and technology.

Biographies in the field of science and technology offer fascinating insights into the lives and minds of extraordinary individuals who have made significant advancements in their respective fields.

These biographies often provide an in-depth look at the personal and professional lives of scientists, inventors, engineers, and other innovators, highlighting their discoveries, inventions, and contributions to human knowledge and progress.

Arts and Literature

Biographies of artists, actors, and writers often provide captivating and inspiring accounts of the lives of these creative individuals. By examining their personal and professional journeys, these biographies allow readers to gain a deeper understanding of the inspirations, motivations, and challenges that have shaped their subjects’ artistic achievements.

These biographies often delve into the early lives of their subjects, exploring formative experiences that may have influenced their creative paths. They also examine the artistic processes and the development of the subjects’ distinctive styles, providing valuable insights into their creative methodologies, influences, and inspirations.

Sports and Athletics

Biographies of athletes provide riveting accounts of the lives and careers of remarkable individuals who have achieved greatness in the world of sports. These stories often serve as powerful sources of inspiration, showcasing the dedication, perseverance, and triumphs of athletes who have overcome obstacles and pushed the boundaries of human potential.

These biographies delve into the formative experiences of their subjects, exploring how early influences, innate talent, and personal motivations led them to pursue athletic excellence. They also provide insights into the rigorous training regimens, discipline, and sacrifices that athletes make to achieve their goals, highlighting the incredible determination and work ethic that underpin their success.

Additionally, biographies of athletes often touch on the personal challenges and setbacks these individuals have faced, such as injuries, controversies, or personal struggles.

Historical Figures

Biographies of historical figures offer a unique window into the lives, personalities, and experiences of individuals who have left lasting impacts on the world. By delving into the stories of these influential people, readers can gain a deeper understanding of the political, social, and cultural contexts that shaped their actions and decisions, as well as the lasting legacies they left behind.

These biographies often provide richly detailed accounts of their subjects’ lives, including their upbringing, education, relationships, and personal struggles. By exploring the complex facets of these individuals, biographies help to humanize historical figures, providing a more comprehensive and nuanced understanding of their motivations, beliefs, and actions.

In addition to personal narratives, biographies of historical figures often weave together broader historical contexts and events. This allows readers to gain valuable insights into the social, political, and cultural forces that influenced their subjects’ lives and decisions.

Writing a Compelling Biography

A captivating biography requires more than just a simple retelling of a person’s life events. It delves into their personal experiences, relationships, and accomplishments, while maintaining an objective and authentic approach.

Being Objective and Authentic

An essential aspect of a well-written biography is its objectivity. The narrative should portray the real person, depicting their experiences and beliefs accurately.

While it can be tempting to embellish facts or minimize flaws, striving for authenticity is crucial in presenting a credible account. This involves thorough research and verification of facts, even when they contradict the author’s initial assumptions.

Authenticity also extends to the respectful portrayal of a subject’s relationships and exploration of their inner world, while avoiding speculation or gossip.

Balancing Personal and Public Life

When writing a biography, one must strike a balance between the subject’s personal and public life. This includes weaving together stories from their childhood, personal relationships, and major life events that may have shaped their character. The integration of both personal and public aspects contributes to a more comprehensive understanding of their vita.

However, careful consideration must be given to privacy concerns, and it is important to determine which aspects of the individual’s life are appropriate to disclose. Ultimately, the reader should gain insight into the person’s journey without feeling intrusive.

Creating Engaging Storylines

Just as in a novel, a great biography should feature engaging storylines that keep readers interested. This can be achieved by organizing the narrative around important events, challenges, and accomplishments that are relevant and compelling. To maintain a smooth flow, strategically transitioning between these key moments helps maintain reader interest.

The use of different perspectives, anecdotes, and historical context can also enhance the storyline. Paint vivid pictures of the settings, allowing readers to immerse themselves in the subject’s world. Furthermore, showcasing the subject’s resilience, growth, and impact, can contribute to a powerful and memorable biography.

Frequently Asked Questions

Can biographies be fictional or purely factual.

Biographies usually aim to present an accurate and factual representation of someone’s life. However, some authors might take creative liberties and incorporate fictionalized elements for dramatic or storytelling purposes.

It is crucial for readers to be aware of the author’s intentions and approach when reading such biographical works.

Can biographies be biased?

Biographies, like any form of writing, can be subject to biases depending on the author’s perspective, beliefs, or intentions.

It is essential for readers to critically evaluate biographies by considering factors such as the author’s credentials, potential biases, and the sources used in the research process.

By comparing multiple biographies on the same subject or cross-referencing with other sources, readers can develop a more comprehensive and balanced understanding of the individual’s life and achievements.

Are biographies always based on famous or historical figures?

While biographies often focus on famous or historical figures, they can also be written about lesser-known individuals with compelling stories or unique experiences.

These “everyday” biographies can provide valuable insights into the lives of ordinary people and the challenges they face, offering a broader understanding of the human experience and fostering empathy and connection among readers.

Are there any ethical considerations when writing a biography?

Yes, ethical considerations play a significant role in writing biographies.

Biographers must respect the privacy and dignity of their subjects, particularly when dealing with sensitive or personal information. They should also strive for accuracy and fairness, avoiding sensationalism or misrepresentation of facts.

Additionally, biographers should acknowledge and address any potential biases or conflicts of interest that may affect their portrayal of the subject.

Biographies offer us unparalleled access to the lives and legacies of remarkable individuals, spanning diverse genres and approaches.

From historical fiction to academic rigor, prophetic accounts to fictionalized narratives, biographies captivate our imagination and enrich our understanding of the human experience. These literary gems remind us that behind every great achievement lies a story of struggle, triumph, and unwavering determination.

So, let us continue to explore these remarkable journeys, as we delve deeper into the pages of history and the hearts of those who have shaped our world.

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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.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Device
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

50 Must-Read Literary Biographies

Sarah Ullery

Sarah suffers from chronic sarcasm, and an unhealthy aversion to noise. She loves to read, and would like to do nothing else, but stupid real life makes her go to work. She lives in the middle of a cornfield and shares a house with two spoiled dogs and a ton of books.

View All posts by Sarah Ullery

I live vicariously through the lives and stories of the writers I love and admire. Sometimes I read biographies of authors whose lives parallel aspects of my own; small lives that eventually produce great art. Lives like Jane Austen and Emily Dickinson, or Penelope Fitzgerald who didn’t write her first book until she was 58.

I like to read biographies that share a commonality with my own life, but like the best fiction, I’d rather be transported to worlds with characters that are larger than life. Lives that are tumultuous, scandal-ridden, and full of perils. Lives that are exciting and rich and full of conflict. Lives that produce stories like Native Son , The Bell Jar, Lolita , A Rage in Harlem , or Frankenstein .

I also like to read about the lives of the authors of some of my favorite books—Iris Murdoch and The Sea, The Sea , Philip K. Dick and A Scanner Darkly , Mary Shelley and Frankenstein , Penelope Fitzgerald and The Blue Flower— but this can be a perilous exercise. Some authors were pretty terrible people, which can ruin your perception of their writing. But like most of us, artists and writers lived lives rife with nuance, and through even-handed, well-researched biographies, readers can take a peek into the minds that have created some of the stories we love.

The Peabody Sisters: Three Women Who Ignited American Romanticism by Megan Marshall

The supposed “American Brontës,” the three Peabody sisters influenced the thinking of writers like Thoreau and Hawthorne. The youngest sister, Sophia, married Nathaniel Hawthorne.

Margaret Fuller: A New American Life by Megan Marshall

After you finish the story of the Peabody sisters and are searching for more stories about American Romanticism and the role women played in the literary scene at the time, pick up Megan Marshall’s other book, about Margaret Fuller.

The Silent Woman: Sylvia Plath and Ted Hughes  by Janet Malcolm

This is a biography of the biographies that have been written about Sylvia Plath. It tries to correct the myth surrounding Plath and Ted Hughes.

Romantic Outlaws: The Extraordinary Lives of Mary Wollstonecraft and Her Daughter Mary Shelley by Charlotte Gordon

Mary Wollstonecraft died a week after giving birth to Mary Shelley, but in many ways, despite not knowing each other, their lives were very alike. A wonderful book about the mother who wrote A Vindication of the Rights of Women  and the daughter who wrote Frankenstein .

Neruda: The Poet’s Calling by Mark Eisner

A Biography of the Chilean poet Pablo Neruda:

“In this part of the story I am the one who Dies, the only one, and I will die of love because I love you, Because I love you, Love, in fire and blood . “ —from Pablo Neruda’s “I Do Not Love You Except Because I Love You”

Frederick Douglass: Prophet of Freedom by David W. Blight

This is the most recent biography of Frederick Douglass. It’s a wonderfully rendered story of a complex and brilliant man who greatly influenced American history.

Eden’s Outcasts: The Story of Louisa May Alcott and Her Father by John Matteson

I’m not a huge fan of Little Women — I find Louisa May Alcott’s life much more interesting than her writing.

Genet: A Biography of Janet Flanner by Brenda Wineapple

Genet is the pen name for Janet Flanner, a woman who fled her home in Indianapolis at 30 to live with her girlfriend in Paris in the 1920s. While in Paris, she became a correspondent for the New Yorker .

Warrior Poet: A Biography of Audre Lorde by Alexis De Veaux

Audre Lorde did not live a quiet life, and this biography relishes in the myth and power of Lorde as an early black lesbian feminist.

Vera (Mrs. Vladimir Nabokov) by Stacy Schiff

What was it like to be married to the author of Lolita ? The story of Vera and Vladimir Nabokov was a love story that spanned 52 years. Stacy Schiff, if you’ve never read any of her other biographies, is a master.

Lyrics of Sunshine and Shadow: The Tragic Courtship and Marriage of Paul Laurence Dunbar and Alice Ruth Moore by Eleanor Alexander

This has all the bad: racism, sexism, abuse, sexual assault—so I warned you! It’s a hard story. I hesitate to call it a romance—maybe there was love, but the relationship between Dunbar and Moore was definitely not stable. This is a relatively short biography, but it certainly packs a punch!

The Blue Hour: A Life of Jean Rhys by Lilian Pizzichini

I’ve always been hesitant to read Jean Rhys’s most famous book,  Wide Sargasso Sea , because I’ve always loved Jane Eyre . But recently I picked up Jane Eyre for a reread and I thought, God, Rochester is an ass. Maybe it’s time for Wide Sargasso Sea .

Chester B. Himes: A Biography by Lawrence P. Jackson

Chester B. Himes is probably most famous for his crime noir series the Harlem Cycle , which starts with A Rage in Harlem . Himes was arrested for armed robbery and spent almost ten years in prison, but while in prison his articles were featured in publications like Esquire . Plagued by racism in America, Himes moved to Paris where he became famous for his Harlem series.

Mary Shelley by Miranda Seymour

Mary Shelley was the daughter of the feminist Mary Wollstonecraft, and wife to the poet Percy Shelley, who drowned when she was only 24. The idea for Frankenstein was born on a stormy night as a group of writers were telling scary stories.

James Baldwin: A Biography by David A. Leeming

David Leeming was friends with Baldwin for 25 years before writing his biography. This is a wonderful glimpse into the life of one of the preeminent voices of African American literature in the world.

Born to be Posthumous: The Eccentric Life and Mysterious Genius of Edward Gorey by Mark Dery

A man who created creepy comics and lived with a horde of cats and thousands of books automatically sounds sounds like the kind of person whose biography I want to read.

Becoming Modern: The Life of Mina Loy by Carolyn Burke

Both a poet and visual artist, Mina Loy moved in the most influential circles of her time. She bumped shoulders with Gertrude Stein, Man Ray, and Marcel Duchamp—to name a few.

Rebecca West: A Life by Victoria Glendinning

A great selling point for a biography is when the subject is described as a sexual rebel. I’m also a sucker for a story about a dysfunctional English family, which Rebecca West famously wrote with The Fountain Overflows .

The Brontë Myth by Lucasta Miller

Okay, I’d rather read about the Wollstonecrafts/Shelleys, or the Peabodys, because I think the Brontës are a bit overrated…but like the Plath biography, which was a biography of her biographies, this book tries to demystify the myth that surrounds the Brontës.

Anaïs Nin: A Biography by Deirdre Bair

Best known for her sexual exploits, diaries, and relationships with leading intellectuals of her time, Anaïs Nin was more than the sum total of her famous idiosyncrasies.

Simone de Beauvoir: A Biography by Deirdre Bair

A biography collected from conversations with de Beauvoir, who’s best known for her philosophical writing on existentialism and her relationship with Jean Paul Sartre.

Virginia Woolf by Hermione Lee

A well balanced biography about a woman whose life is as well known as her books; still, you’ll find some tidbits in this biography that you’ve probably never known, and might come to see Woolf in a new light—for better or worse. Hermione Lee is a master biographer.

Why This World: A Biography of Clarice Lispector

A writer whose work has seen a resurgence in recent years—Clarice Lispector was born in post–War World I Ukraine, and emigrated to Brazil in her early years. Her writing and life is steeped in mysticism.

Jane Crow: The Life of Pauli Murray by Rosalind Rosenberg

It’s hard to find biographies about black female writers. Especially writers from the 20th and 19th centuries. Jane Crow was a lawyer, writer, and civil rights crusader. She’s an example of a woman we should know more about.

Flannery: A Life of Flannery O’Connor by Brad Gooch

I wish there were more biographies about Flannery O’Connor, the master of the short story. This is a good biography, but I want more.

How to Live: A Life of Montaigne in One Question and Twenty Attempts at An Answer by Sarah Bakewell

Four hundred years ago Montaigne wrote The Essays , where he tried to answer the universal question: How to live? This biography explores his questions and answers in a historical context.

Ralph Ellison: A Biography by Arnold Rampersand

A wonderfully in-depth story of Ralph Ellison’s life. He was born in 1913 in the south and moved to New York City in 1936. He had a grandiose personality that was sometimes at odds with other writers and politically active intellectuals of his time.

A Life of Langston Hughes: Volume I: 1902–1941, I, Too, Sing America by Arnold Rampersad

Langston Hughes’s life is told in three volumes. The first relates Hughes’s early years as he traveled the world.

Edith Wharton by Hermione Lee

I own this book. It’s HUGE. I bought it after reading Edna St. Vincent Millay’s biography in which it is mentioned that Edith Wharton was in Paris at the same time as Millay. But while Millay struggled at times with finances, Wharton was born to privilege.

Wrapped in Rainbows: The Life of Zora Neale Hurston by Valerie Boyd

In high school we had to choose a book from a list of 100 American classics to read every month. Their Eyes Were Watching God was the best book I read from that list. Zora Neale Hurston’s life was fascinating.

I Am Alive and You Are Dead: A Journey into the Mind of Philip K. Dick by Emmanuel Carrère

A Scanner Darkly is a favorite book. A life as strange as the stories he wrote: “ It is sometimes an appropriate response to reality to go insane .”

Richard Wright: The Life and Times by Hazel Rowley

This powerful story about the author of Native Son weaves Wright’s own writing and quotations into the biography.

The Life of Emily Dickinson by Richard B. Sewall

There are a lot of biographies of Emily Dickinson, but this is my choice.

Penelope Fitzgerald: A Life by Hermione Lee

Penelope Fitzgerald was nearly 60 before publishing her first book, which makes me love her. She’s best known for writing The Blue Flower , The Bookshop , and Offshore .

Katherine Anne Porter: The Life of an Artist by Darlene Harbour Unrue

“Pale Horse, Pale Rider” is one of my favorite short stories. A woman is in bed with a fever during the influenza epidemic, and in her fever she remembers her childhood, and worries about her fiancé who is a soldier fighting in the first world war. The author, Katherine Anne Porter, lived a life that was no less compelling.

Zelda by Nancy Milford

A woman driven mad by her husband’s lecherous appropriation of her personality and writing. Confession: I’m not a huge fan of F. Scott Fitzgerald, so it doesn’t pain me to discover he was a jerk.

Iris Murdoch: A Life by Peter J. Conradi

The Sea, The Sea is one of my favorite books. Charles Arrowby is absurd, frustrating, and totally realized as a man coming to the end of his life, but fighting like hell to delay the breakdown into old age. Iris Murdoch at first imagined herself to be the next George Eliot, but ended up embracing Dostoevsky’s influence.

Poet of the Appetites: The Lives and Loves of M.F.K. Fisher by Joan Reardon

Fisher wrote extensively about her own life in memoirs like The Gastronomical Me and  How to Cook a Wolf , in which she writes about food and its relationship with life and love.

Alice Walker: A Life by Evelyn C. White

Alice Walker was the first black woman to win a Pulitzer Prize for her novel The Color Purple . This might be the only biography on the list whose subject is still alive, which brings a new dynamic to the biography.

Shirley Jackson: A Rather Haunted Life by Ruth Franklin

Your life can’t be all rainbows and unicorns if you’re writing stories like The Haunting of Hill House and We Have Always Lived in the Castle .  This is a biography about the woman, the books, and the times in which they existed.

The Banished Immortal: A Life of Li Bai by Ha Jin

Li Bai was a Chinese poet who lived a long, long time ago, but whose work and legacy is still greatly revered today in China.

Savage Beauty: The Life of Edna St. Vincent Millay by Nancy Milford

My favorite literary biography. Edna St. Vincent Millay was fashioned as a modern Sappho, and a holdover of Victorian era poets like Elizabeth Barrett Browning. But despite her writing style, her personal life was very modern.

Gellhorn: A Twentieth-Century Life by Caroline Moorehead

The life of the illustrious war correspondent Martha Gellhorn who reported from the frontlines of most of the biggest wars of the 20th century. A fascinating figure.

Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry by Imani Perry

Best known for her play  A Raisin in the Sun , Lorraine Hansberry counted James Baldwin and Nina Simone as friends. She was a prominent voice in the civil rights movement, she joined one of the first lesbian organizations, and challenged JFK to take a wider stance on civil rights. Why don’t we hear more about Lorraine Hansberry more? She died at 34.

Borges: A Life by Edwin Williamson

To read his books and short stories, it would be easy to imagine that Borges’s life could be stranger than fiction. But this biography focuses on the human side of Borges and brings new light to his work and thinking.

Ida: A Sword Among Lions by Paula Giddings

Ida B. Wells was an African American reporter who investigated and fought to end lynching in the south. This is the story of a brilliant and fearless reporter, and an indictment against the United States.

Prairie Fires: The American Dreams of Laura Ingalls Wilder by Caroline Fraser

I’ve never read Little House on the Prairie . I prefer reading about the rocky life story of the author behind the books.

The Collected Autobiographies of Maya Angelou by Maya Angelou

Yes, an autobiography. I included it because I don’t think anyone should try to retell Maya Angelou’s story. Her telling, and poetry, should be the last word.

The Invention of Angela Carter: A Biography by Edmund Gordon

A biography about the author of the morbid and gothic fairytales like The Bloody Chamber and gothic novels like The Magic Toyshop .

My Soul Looks Back by Jessica B. Harris

Jessica B. Harris writes about her early life in New York City when she moved in social circles that included James Baldwin, Toni Morrison, and Maya Angelou. A vibrant city, full of vibrant people.

Harriet Jacobs: A Life by Jean Fagan Yellin

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Definition of biography

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So You've Been Asked to Submit a Biography

In a library, the word biography refers both to a kind of book and to a section where books of that kind are found. Each biography tells the story of a real person's life. A biography may be about someone who lived long ago, recently, or even someone who is still living, though in the last case it must necessarily be incomplete. The term autobiography refers to a biography written by the person it's about. Autobiographies are of course also necessarily incomplete.

Sometimes biographies are significantly shorter than a book—something anyone who's been asked to submit a biography for, say, a conference or a community newsletter will be glad to know. Often the word in these contexts is shortened to bio , a term that can be both a synonym of biography and a term for what is actually a biographical sketch: a brief description of a person's life. These kinds of biographies—bios—vary, but many times they are only a few sentences long. Looking at bios that have been used in the same context can be a useful guide in determining what to put in your own.

Examples of biography in a Sentence

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

Word History

Late Greek biographia , from Greek bi- + -graphia -graphy

1665, in the meaning defined at sense 2

Dictionary Entries Near biography

biographize

Cite this Entry

“Biography.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/biography. Accessed 20 Apr. 2024.

Kids Definition

Kids definition of biography, more from merriam-webster on biography.

Nglish: Translation of biography for Spanish Speakers

Britannica English: Translation of biography for Arabic Speakers

Britannica.com: Encyclopedia article about biography

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Example sentences literary biography

Definition of 'biography' biography.

Definition of 'literary' literary

COBUILD Collocations literary biography

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Literary term of poetic diction

Table of Contents

Poetic diction, a term that encompasses the distinctive language and style employed in poetry, is a subject of enduring fascination for literary scholars and enthusiasts alike.

Poets have struggled with finding the right words throughout history to conjure up feelings, images, and a heightened sense of aesthetic beauty, all while maintaining a delicate balance.

Historical Evolution of Poetic Diction:

The development of poetic diction can be linked to historical literary traditions, in which poets used language as a potent instrument to investigate the human condition, communicate with the divine, and enthrall readers. The trajectory of poetic diction has witnessed distinct phases, each reflective of the cultural, philosophical, and artistic currents of its time.

• Epic poets of antiquity in Greece and Rome, such as Virgil and Homer, used formalized, elevated language. To evoke awe in the audience and communicate the epic quality of their stories, formalized structures and grandiloquent expressions were employed.
• There were changes in poetic diction during the Middle Ages and the Renaissance. The language used by medieval poets was rife with religious and courtly traditions, and they frequently employed symbolism and allegory. Poetry began to use language more naturally and expressively during the Renaissance, when humanism saw a resurgence in popularity. Shakespeare’s sonnets serve as an excellent example of this shift.
• The Neoclassical period emphasized clarity, reason, and order in literary expression. Poets like Alexander Pope adhered to a more restrained and polished poetic diction. The use of heroic couplets and precise language aimed to communicate ideas with precision and elegance.
• The Romantic poets of the late 18th and early 19th centuries, including William Wordsworth and Samuel Taylor Coleridge, rebelled against the perceived constraints of Neoclassical diction. They favored a more emotive, individualistic, and nature-inspired language that sought to evoke profound emotional responses and connect with readers on a personal level.
• The Victorian era saw poets like Alfred Lord Tennyson and Robert Browning experimenting with both elaborate and stark poetic diction. The modernist movement of the early 20th century, represented by poets such as T.S. Eliot and Ezra Pound, embraced linguistic innovation, fragmentation, and a departure from conventional syntax and forms.

Key Characteristics of Poetic Diction:

• Poetry requires language to be precise and succinct. Poets meticulously choose each word for its unique meanings and nuances in order to achieve poetic diction, which involves word economy. The conciseness of the writing inspires readers to interact with the text more deeply, deciphering seemingly straightforward sentences that have multiple levels of meaning.
• The musicality of language is a hallmark of poetic diction. Poets consider the rhythmic flow of words, employing meter, rhyme, and various sound devices to create a melodic and harmonious quality in their verses. The cadence and pacing of language contribute to the aesthetic experience of poetry, enhancing its oral and auditory dimensions.
• Figurative language, including metaphors, similes, personification, and symbolism, is integral to poetic diction. These devices allow poets to convey complex emotions, abstract concepts, and profound truths by drawing connections between the familiar and the extraordinary. Figurative language adds layers of meaning and invites readers to interpret poetry on multiple levels.
• Poetic diction often embraces ambiguity and open interpretation. Poets may employ language that invites multiple meanings, encouraging readers to bring their own perspectives and experiences to the interpretation of a poem. This ambiguity adds depth and complexity to poetic expression.
• Poets frequently engage in intertextuality, drawing on literary, historical, or cultural allusions to enrich their diction. Allusions provide a layer of depth to the language, establishing connections with other works of literature or cultural symbols. Readers familiar with these references may uncover additional dimensions of meaning within the poem.
• Poetic diction aims to resonate emotionally with readers. Through carefully chosen words, tone, and rhythm, poets evoke specific emotional responses, ranging from joy and love to melancholy and despair. The emotional impact of poetry relies on the poet’s ability to select words that resonate with the reader’s own sensibilities and experiences.
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Role in Shaping Poetic Expression:

• Poetic diction serves as a vehicle for expressive and evocative language. Poets use words that go beyond mere description, seeking to capture the essence of emotions, landscapes, and experiences. The selection of expressive language contributes to the emotional impact and aesthetic beauty of poetry.
• The specific words chosen in poetic diction contribute to the creation of atmosphere and mood within a poem. Whether through the use of dark, foreboding language or bright, uplifting imagery, poets shape the emotional tone of their work, guiding readers through a particular emotional terrain.
• Tone and voice are crucial elements of poetic expression. Poetic diction allows poets to establish a unique tone, whether it be formal, informal, contemplative, or impassioned. The choice of words contributes to the distinctive voice of the poet, creating a recognizable style that distinguishes one poet from another.
• Poetic diction facilitates the exploration of themes and ideas within poetry. Through carefully chosen words, poets convey their perspectives on love, nature, mortality, societal issues, and myriad other topics. The language becomes a conduit for the poet’s intellectual and emotional engagement with the subject matter.
• Poetic diction is often influenced by the cultural and historical context in which a poet writes. Language reflects the zeitgeist of an era, incorporating contemporary idioms, references, and perspectives. Additionally, poets may intentionally engage with or rebel against linguistic conventions prevalent in their cultural milieu.
• Poetic diction allows for experimentation and innovation in language use. Avant-garde poets often push the boundaries of traditional language, introducing new words, syntax, and structures to challenge and expand the possibilities of poetic expression. This experimentation contributes to the evolution of poetic diction over time.
• Poets use a range of linguistic and cultural elements to influence the way they write. Poets who are multilingual may use words from other languages to weave a linguistic tapestry that represents the variety of their experiences. Idioms and cultural allusions add to the poetry’s authenticity and richness.

Challenges and Controversies in Poetic Diction:

• Poetic language frequently struggles with the conflict between being understandable and being obscure. Poets may aim for nuance and complexity in their writing, but excessively arcane or esoteric language may turn off readers. Poets who wish to connect with a wide range of audiences must strike a balance between accessibility and rich expression.
• The subjective nature of interpretation poses a challenge in poetic diction. What one reader finds resonant and profound, another may find elusive or unclear. Poets must navigate the fine line between inviting interpretation and ensuring that their intended meanings are not entirely lost in a sea of subjectivity.
• Poets must be mindful of cultural sensitivity when incorporating linguistic elements from diverse backgrounds. The use of cultural references, idioms, or words from a language outside the poet’s own may be misappropriated or misunderstood, leading to unintended consequences.
• As poets engage with various linguistic influences, there is a challenge in preserving the authenticity of their voice. Striking a balance between embracing linguistic diversity and maintaining a genuine expression of personal experience requires a nuanced approach.

Poetic diction embodies the complex relationship between language and poetry’s artistic quality, making it a dynamic and multifaceted aspect of literary expression. Poets have forged a lasting legacy on the development of poetic language by navigating the ever-changing terrain of cultural, philosophical, and artistic currents throughout history. Poetic diction continues to shape the diverse tapestry of poetic expression, from the classical elegance of epic poetry to the emotive cadence of Romantic verses and the linguistic experimentation of modernist works.

Poets are faced with both challenges and tools when it comes to the essential elements of poetic diction, which include vivid imagery, conciseness, rhythm, figurative language, ambiguity, and more. Poets use these components to convey feelings, delve into subjects, and develop unique voices that connect with readers everywhere in time and space. Poetic diction will surely continue to develop as long as poetry is a timeless form of artistic expression, reflecting the dynamic nature of both language and human experience. Poets use language to craft worlds that linger in readers’ hearts and minds, drawing them into the profound beauty and complexity of the poetic realm through the delicate dance between words and emotions.

1. What is poetic diction?

Poetic diction refers to the distinctive language and style used by poets in their works. It involves the careful selection of words, imagery, and linguistic elements to convey meaning, evoke emotions, and create aesthetic beauty within the context of poetry.

2. How has poetic diction evolved throughout history?

Poetic diction has evolved across different historical periods and literary movements. From the elevated language of classical epics to the emotional expressiveness of Romantic poetry and the linguistic experimentation of modernist works, the evolution of poetic diction reflects cultural, philosophical, and artistic shifts.

3. What are the key characteristics of poetic diction?

Key characteristics of poetic diction include vivid imagery, conciseness and precision, rhythm and musicality, figurative language, ambiguity, allusion and intertextuality, and emotional resonance. These elements contribute to the unique expression and aesthetic quality of poetry.

4. How does poetic diction contribute to shaping poetic expression?

Poetic diction plays a crucial role in shaping poetic expression by providing a vehicle for expressive and evocative language. It creates atmosphere and mood, establishes tone and voice, explores themes and ideas, and reflects cultural and historical contexts. Poets use diction to convey emotions, engage with subjects, and experiment with language.

5. What challenges and controversies exist in poetic diction?

Challenges in poetic diction include balancing accessibility with obscurity, navigating the subjectivity of interpretation, ensuring cultural sensitivity, and preserving the authentic voice of the poet. These challenges highlight the delicate balance poets must strike between complexity and clarity, innovation and tradition.

6. How does poetic diction address the balance between accessibility and obscurity?

Poets grapple with the balance between accessibility and obscurity in poetic diction. While they aim for depth and complexity, overly obscure language can alienate readers. Striking a balance allows poets to create rich expression while ensuring that the intended meanings are not entirely lost in subjectivity.

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