autobiography of in english

Autobiography

Definition of autobiography.

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

Difference between Autobiography and Memoir

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

Six Types of Autobiography

There are six types of autobiographies:

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

Importance of Autobiography

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

Examples of Autobiography in Literature

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

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

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

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

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

Example #3: Self Portraits: Fictions by Frederic Tuten

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

Example #4: My Prizes by Thomas Bernhard

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

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

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

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

Synonyms of Autobiography

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

The Autobiography of Malcolm X

autobiography

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

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

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

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

The History of Autobiography

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

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

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

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

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

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

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

Types of Autobiographies

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

Standard Autobiographies

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

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

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

Autofiction

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

Spiritual Autobiographies

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

Autobiography vs. Biography

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

The Function of Autobiography

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

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

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

Writers Known for Autobiography & Autobiography Books

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

Examples of Autobiographies

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

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

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

2. Helen Keller, The Story of My Life

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

3. Vinh Chung, Where the Wind Leads

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

How to Write an Autobiography

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

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

Further Resources on Autobiography

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

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

MasterClass breaks autobiography writing down into eight basic steps .

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

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

Related Terms

Frame Story
Point of View

How to Define Autobiography

Glossary of Grammatical and Rhetorical Terms

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

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

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

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

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

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

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

Examples of Autobiographical Prose

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

Examples and Observations of Autobiographical Compositions

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

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

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Autobiography: A Very Short Introduction

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(page 1) p. 1 Introduction

Published: July 2018
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Autobiography continues to be one of the most popular forms of writing, produced by authors from across the social and professional spectrum. It is also central to the work of literary critics, philosophers, historians, and psychologists, who have found in autobiographies not only an understanding of the ways in which lives have been lived, but the most fundamental accounts of what it means to be a self in the world. The Introduction describes what autobiography means and compares it to other forms of ‘life-writing’. Autobiographical writing is seen to act as a window on to concepts of self, identity, and subjectivity, and into the ways in which these are themselves determined by time and circumstance.

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autobiography

Definition of autobiography

Examples of autobiography in a sentence.

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

Word History

auto- + biography , perhaps after German Autobiographie

1797, in the meaning defined above

Phrases Containing autobiography

semi - autobiography

Dictionary Entries Near autobiography

autobiographist

Cite this Entry

“Autobiography.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/autobiography. Accessed 2 Apr. 2024.

Kids Definition

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

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How To Write An Autobiography

Autobiography Examples

11+ Autobiography Examples: A Detailed Guide

Memoir Vs Autobiography Example

Memoirs and autobiographies both delve into personal experiences, but they have their own styles and purposes.

Let’s jump into example to see what is the actual difference between memoir and autobiography:

Memoir Vs Autobiography Example PDf

Autobiography Outline Examples

Any academic or professional writing needs to follow a proper format to organize the information. And an outline is the best way to follow the proper format. It helps you organize your information and structure your data into a proper format.

Here are some autobiography outline examples to help you learn the basics of the autobiography format .

Autobiography Outline for College - Example

Autobiography Sample Outline

How to Write an Autobiography - Examples

As we have mentioned earlier, there are as many stories as there are people on earth. Each of the stories is different from the others; no two of them could be the same.

How you present your ideas really matters. That's why using the right strategies and the correct format is essential to make your writing creative.

It is important to know the difference between autobiography and biography . These examples will help you learn how to start an autobiography that leaves a good impression on the reader’s mind.

Autobiography Sample PDF

Writing an Autobiography - Example

Autobiography Examples for Students

An autobiography is your life story. If your teacher tells you to write one, they just want to hear about your life. Even if you think your story isn't super exciting, following the structure can make it work better.

These autobiography examples for students will help you understand how you can properly format the autobiography.

Autobiography Examples for Kids

School is a time of discovery, and what better way to explore your own journey than through the lens of an autobiography? Here are some great autobiography examples crafted specifically for kids.

Autobiography Examples Ks2

Autobiography Examples For Grade 7

Autobiography Examples For Class 6

Short Autobiography Example for Students

Here is a sample of a short autobiography for you. Give it a good read and learn how to write an excellent short autobiography.

Short Autobiography for Students - Example

High School Autobiography Example

Check out this sample and learn to write an incredible autobiography for high school students.

High School Autobiography - Example

Spiritual Autobiography Example for College Students

Spiritual autobiographies give a glimpse into the spiritual person's life. Have a look at the following sample spiritual autobiography and give it a good read to learn more.

Spiritual Autobiography for College Students - Example

Cultural Autobiography Examples

Here is a sample of a cultural autobiography that contains detailed information on culture. Have a look at the sample to know more about it.

Cultural Autobiography Examples

Funny Autobiography Examples

Autobiographies are thought to be boring and mundane, but that is not the case. You can make an interesting story, as well as funny. Learn to write a funny autobiography by this example.

Funny Autobiography Examples

Educational Autobiography Example

Here is a sample educational autobiography that will help you formulate an effective and inspiring autobiography.

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Social Class Autobiography Example

Writing a social class or sociology assignment could be a bit difficult. This sample will help you work on yours easily.

Rambling Autobiography Examples

Rambling autobiographies are like a casual conversation with a friend, where stories unfold in their own unique way.

Let’s jump into some fascinating examples about this type of autobiography:

Personal Autobiography Examples

Personal autobiography or personal narrative essay provides a complete picture of the author’s life story. The following personal autobiography demonstrates how to write a personal narrative autobiography.

Personal Narrative Autobiography - Example

Autobiography Examples for Students About Yourself

Famous Autobiography Examples

Autobiographical essays are usually about famous people or historical figures. Just as a renowned autobiography of Benjamin Franklin tells us about his life, his unfinished records, his accomplishments, etc.

Below are some examples of famous autobiographies for your better understanding:

Famous Literacy Autobiography Example

Famous Autobiography - Sample

All in all, we have explored different examples, like understanding what makes memoirs different from autobiographies and exploring rambling ones. These examples are like guides to help you tell your own story and maybe inspire others on your writing journey.

So, go ahead, give it a try, and have fun telling your unique tale!

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Dr. Barbara is a highly experienced writer and author who holds a Ph.D. degree in public health from an Ivy League school. She has worked in the medical field for many years, conducting extensive research on various health topics. Her writing has been featured in several top-tier publications.

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A History of English Autobiography (Cambridge University Press, 2016) -- uncorrected proofs

Edited collection -- with chapters by Adam Smyth, Barry Windeatt, David Matthew, Molly Murray, Kathleen Lynch, Suzanne Trill, Tessa Whitehouse, Robert Folkenflik, Lynn Festa, John Richetti, David Vincent, Duncan Wu, Richard Hughes Gibson, Timothy Larsen, Carol Hanbery MacKay, Julie Codell, Stephen Colclough, Max Saunders, Georgia Johnston, Hope Wolf, Laura Marcus, Maud Ellman, Michael O'Neill, Nick Hubble, Bart Moore-Gilbert, Joseph Brooker, Neil Vickers, Roger Luckhurst, Andreas Kitzmann

Related Papers

Gabriele M. Linke

Philippa Kelly

Galaxy International Multidisciplinary Research Journal

Riya Mukherjee

Charles Ivan Armstrong

This paper is focused on the reconsideration of the limits and advances of the genre of autobiography. Given the recent boom in autobiography and personal narratives this timely topic poses a great challenge to current literary and cultural studies. Autobiography frequently takes the form of a disturbance, upsetting the expectations and classifications of both general public and literary critics. What presuppositions does the genre of autobiography build upon, and how should we respond when more strictly literary genres integrate autobiographical elements? This paper will explore selected, representative examples of how autobiography and autobiographically inclined literary works have challenged pervading norms over the last two centuries. The use of autobiographical elements in literature has repeatedly been part of an estranging revitalization of more or less settled literary forms, in addition to contributing to the reimagining of nationality through the example of representative or marginal identities, such as in the case of W. B. Yeats. The examples will span from the Romanticism of William Wordsworth and Lord Byron, via the 19th century call for uncompromising “sincerity” and the ensuing experiments of Modernism, to more recent instances of confessionalism in writers such as Robert Lowell and Karl-Ove Knausgård. The borders and dialogue between life and writing will be in focus in this paper, and the degree to which critical terms text, context and paratext help us understand and clarify their complex interaction will be subject to discussion.

Maria Dibattista

Graham Holderness

Life Writing

Jaume Aurell

Experimentation and theorising on forms of life writing from the field of history has grown substantially in recent decades, as historians understand how autobiographical narrative may contribute to understanding both the past and our processes of accessing it. The introduction to this special issue on ‘History and Autobiography’ outlines some theoretical debates emerging from the intersection of history with different forms of self-representation, and highlights some of the main points examined by the contributors. Some contributors explore the convergence of history and life writing through an autobiographical voice, while others work theoretically or critically. Beyond these different approaches, all the essays explore to what extent autobiography serves historical writing and comprehension, and examine the theoretical and practical consequences of this convergence.

Linden West

Biograpahical researchers in the United Kingdom have been influenced by symbolic interactionism, feminism, oral history, critical sociology, psychoanalysis and what we term an auto/biographical imagination. The latter involves reflexively situating the researcher and her influence, via power, unconscious processes and writing, into the text and by acknowledging the co-construction of stories. The focus of much research has been on marginalised peoples, as part of a democratising project to bring more diverse voices and stories into the historical or contemporary social record. It is important to avoid too rigid a distinction between mainland Europe and developments in Britain. Collaboration and dialogue have been extensive, across various research networks, including in the European Society for Research in the Education of Adults (ESREA).

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Writing My Autobiography

A re you still writing?” he asked.

“I am,” I answered.

“What are you working on at the moment?”

“An autobiography,” I said.

“Interesting,” he replied. “Whose?”

The implication here, you will note, is that mine hasn’t been a life sufficiently interesting to merit an autobiography. The implication isn’t altogether foolish. Most autobiographies, at least the best autobiographies, have been written by people who have historical standing, or have known many important people, or have lived in significant times, or have noteworthy family connections or serious lessons to convey . I qualify on none of these grounds. Not that, roughly two years ago when I sat down to write my autobiography, I let that stop me.

An autobiography, to state the obvious, is at base a biography written by its own subject. But how is one to write it: as a matter of setting the record straight, as a form of confessional, as a mode of seeking justice, or as a justification of one’s life? “An autobiography,” wrote George Orwell, “is only to be trusted when it reveals something disgraceful. A man who gives a good account of himself is probably lying, since any life when viewed from the inside is simply a series of defeats.” Is this true? I prefer to think not.

Autobiography is a complex enterprise, calling for its author not only to know himself but to be honest in conveying that knowledge. “I could inform the dullest author how he might write an interesting book,” wrote Samuel Taylor Coleridge. “Let him relate the events of his own life with Honesty, not disguising the feelings that accompanied them.” One of the nicest things about being a professor, it has been said, is that one gets to talk for fifty minutes without being interrupted. So one of the allurements of autobiography is that one gets to write hundreds of pages about that eminently fascinating character, oneself, even if in doing so one only establishes one’s insignificance.

The great autobiographies—of which there have not been all that many—have been wildly various. One of the first, that of the Renaissance sculptor Benvenuto Cellini, is marked by an almost unrelieved braggadocio: No artist was more perfect, no warrior more brave, no lover more pleasing than the author, or so he would have us believe. Edward Gibbon’s autobiography, though elegantly written, is disappointing in its brevity. That of Jean-Jacques Rousseau, heavily striking the confessional note, might have been told in a booth to a priest. Ben Franklin’s autobiography is full of advice on how the rest of us should live. John Stuart Mill’s is astounding in its account of its author’s prodigiously early education, which began with his learning Greek under his father’s instruction at the age of three. Then there is Henry Adams’s autobiography, suffused with disappointment over his feeling out of joint with his times and the world’s not recognizing his true value. In Making It , Norman Podhoretz wrote an autobiography informed by a single message, which he termed a “dirty little secret,” namely that there is nothing wrong with ambition and that success, despite what leftist intellectuals might claim, is nothing to be ashamed of.

Please note that all of these are books written by men. Might it be that women lack the vanity required to write—or should I say “indulge in”—the literary act of autobiography? In Mary Beard’s Emperor of Rome , I recently read that Agrippina the Younger, the mother of Nero, wrote her autobiography, which has not survived, and which Mary Beard counts as “one of the great losses of all classical literature.” I wish that Jane Austen had written an autobiography, and so too George Eliot and Willa Cather. Perhaps these three women, great writers all, were too sensibly modest for autobiography, that least modest of all literary forms.

A utobiography can be the making or breaking of writers who attempt it. John Stuart Mill’s autobiography has gone a long way toward humanizing a writer whose other writings tend toward the coldly formal. Harold Laski wrote that Mill’s “ Autobiography , in the end the most imperishable of his writings, is a record as noble as any in our literature of consistent devotion to the public good.”

If Mill’s autobiography humanized him, the autobiography of the novelist Anthony Trollope did for him something approaching the reverse. In An Autobiography , Trollope disdains the notion of an author’s needing inspiration to write well. He reports that “there was no day on which it was my positive duty to write for the publishers, as it was my duty to write reports for the Post Office,” where he had a regular job. “I was free to be idle if I pleased. But as I had made up my mind to undertake this second profession [that of novelist], I found it to be expedient to bind myself by certain self-imposed laws.” Trollope recounts—emphasis here on “counts”—that as a novelist he averages forty pages per week, at 250 words per page. He writes: “There are those who would be ashamed to subject themselves to such a taskmaster, and who think that the man who works with his imagination should allow himself to wait till inspiration moves him. When I have heard such doctrine preached, I have hardly been able to repress my scorn.” Trollope then mentions that on the day after he finished his novel Doctor Thorne , he began writing his next novel, The Bertrams . For a long spell the literati refused to forgive Trollope for shearing inspiration away from the creation of literary art, for comparing the job of the novelist to a job at the post office. Only the splendid quality of his many novels eventually won him forgiveness and proper recognition.

A serious biography takes up what the world thinks of its subject, what his friends and family think of him, and—if the information is available in letters, diaries, journals, or interviews—what he thinks of himself. An autobiography is ultimately about the last question: what the author thinks of himself. Yet how many of us have sufficient self-knowledge to give a convincing answer? In her splendid novel Memoirs of Hadrian , Marguerite Yourcenar has Hadrian note: “When I seek deep within me for knowledge of myself what I find is obscure, internal, unformulated, and as secret as any complicity.” The unexamined life may not be worth living, but the scrupulously examined one is rare indeed.

My own life has not provided the richest fodder for autobiography. For one thing, it has not featured much in the way of drama. For another, good fortune has allowed me the freedom to do with my life much as I have wished. I have given my autobiography the title Never Say You’ve Had a Lucky Life , with the subtitle Especially If You’ve Had a Lucky Life . Now well along in its closing chapter, mine, I contend, has been thus far—here I pause to touch wood—a most lucky life.

My title derives from the story of Croesus, who ruled the country of Lydia from circa 585–547 b.c. , and who is perhaps today best known for the phrase “rich as Croesus.” The vastly wealthy Croesus thought himself the luckiest man on earth and asked confirmation of this from Solon, the wise Athenian, who told him that in fact the luckiest man on earth was another Athenian who had two sons in that year’s Olympics. When Croesus asked who was second luckiest, Solon cited another Greek who had a most happy family life. Croesus was displeased but not convinced by Solon’s answers. Years later he was captured by the Persian Cyrus, divested of his kingdom and his wealth, and set on a pyre to be burned alive, before which he was heard to exclaim that Solon had been right. The moral of the story is, of course: Never say you have had a lucky life until you know how your life ends.

I have known serious sadness in my life. I have undergone a divorce. I have become a member of that most dolorous of clubs, parents who have buried one of their children. Yet I have had much to be grateful for. In the final paragraph of a book I wrote some years ago on the subject of ambition, I noted that “We do not choose our parents. We do not choose our historical epoch, or the country of our birth, or the immediate circumstances of our upbringing.” In all these realms, I lucked out. I was born to intelligent, kindly parents; at a time that, though I was drafted into the army, allowed me to miss being called up to fight in any wars; and in the largely unmitigated prosperity enjoyed by the world’s most interesting country, the United States of America.

Writing is a form of discovery. Yet can even writing ferret out the quality and meaning of one’s own life? Alexis de Tocqueville, the endlessly quotable Tocqueville, wrote: “The fate of individuals is still more hidden than that of peoples,” and “the destinies of individuals are often as uncertain as those of nations.” Fate, destiny, those two great tricksters, who knows what they have in store for one, even in the final days of one’s life? I, for example, as late as the age of eighteen, had never heard the word “intellectual.” If you had asked me what a man of letters was, I would have said a guy who works at the post office. Yet I have been destined to function as an intellectual for the better part of my adult life, and have more than once been called a man of letters. Fate, destiny, go figure!

T he first question that arises in writing one’s autobiography is what to include and what to exclude. Take, for starters, sex. In his nearly seven-hundred-page autobiography, Journeys of the Mind , the historian of late antiquity Peter Brown waits until page 581 to mention, in the most glancing way, that he is married. Forty or so pages later, the name of a second wife is mentioned. Whether he had children with either of these wives, we never learn. But then, Brown’s is a purely intellectual autobiography, concerned all but exclusively with the development of the author’s mind and those who influenced that development.

My autobiography, though less than half the length of Brown’s, allowed no such luxury of reticence. Sex, especially when I was an adolescent, was a central subject, close to a preoccupation. After all, boys—as I frequently instructed my beautiful granddaughter Annabelle when she was growing up—are brutes. I came of age BP, or Before the Pill, and consummated sex, known in that day as “going all the way,” was not then a serious possibility. Too much was at risk—pregnancy, loss of reputation—for middle-class girls. My friends and I turned to prostitution.

Apart from occasionally picking up streetwalkers on some of Chicago’s darker streets, prostitution for the most part meant trips of sixty or so miles to the bordellos of Braidwood or Kankakee, Illinois. The sex, costing $3, was less than perfunctory. (“Don’t bother to take off your socks or that sweater,” one was instructed.) What was entailed was less sensual pleasure than a rite of passage, of becoming a man, of “losing your cherry,” a phrase I have only recently learned means forgoing one’s innocence. We usually went on these trips in groups of five or six in one or another of our fathers’ cars. Much joking on the way up and even more on the way back. Along Chicago’s Outer Drive, which we took home in those days, there was a Dad’s Old Fashioned Root Beer sign that read, “Have you had it lately?,” which always got a good laugh.

I like to think of myself as a shy pornographer, or, perhaps better, a sly pornographer. By this I mean that in my fiction and where necessary in my essays I do not shy away from the subject of sex, only from the need to describe it in any of its lurid details. So I have done in my autobiography. On the subject of sex in my first marriage (of two), for example, I say merely, “I did not want my money back.” But, then, all sex, if one comes to think about it, is essentially comic, except of course one’s own.

On the inclusion-exclusion question, the next subject I had to consider was money, or my personal finances. Financially I have nothing to brag about. In my autobiography I do, though, occasionally give the exact salaries—none of them spectacular—of the jobs I’ve held. With some hesitation (lest it seem boasting) I mention that a book I wrote on the subject of snobbery earned, with its paperback sale, roughly half-a-million dollars. I fail to mention those of my books that earned paltry royalties, or, as I came to think of them, peasantries. In my autobiography, I contented myself with noting my good fortune in being able to earn enough money doing pretty much what I wished to do and ending up having acquired enough money not to worry overmuch about financial matters. Like the man said, a lucky life.

If I deal glancingly in my autobiography with sex and personal finances, I tried to take a pass on politics. My own political development is of little interest. I started out in my political life a fairly standard liberal—which in those days meant despising Richard Nixon—and have ended up today contemptuous of both our political parties: Tweedledum and Tweedledumber, as the critic Dwight Macdonald referred to them. Forgive the self-congratulatory note, but in politics I prefer to think myself a member in good standing of that third American political party, never alas on the ballot, the anti-BS party.

Of course, sometimes one needs to have a politics, if only to fight off the politics of others. Ours is a time when politics seems to be swamping all else: art, education, journalism, culture generally. I have had the dubious distinction of having been “canceled,” for what were thought my political views, and I write about this experience in my autobiography. I was fired from the editorship of Phi Beta Kappa’s quarterly magazine, the American Scholar —a job I had held for more than twenty years—because of my ostensibly conservative, I suppose I ought to make that “right-wing,” politics. My chief cancellers were two academic feminists and an African-American historian-biographer, who sat on the senate, or governing board, of Phi Beta Kappa.

T he official version given out by Phi Beta Kappa for my cancellation—in those days still known as a firing—was that the magazine was losing subscribers and needed to seek younger readers. Neither assertion was true, but both currently appear in the Wikipedia entry under my name. The New York Times also printed this “official” but untrue version of my cancellation. In fact, I was canceled because I had failed to run anything in the magazine about academic feminism or race, both subjects that had already been done to death elsewhere and that I thought cliché-ridden and hence of little interest for a magazine I specifically tried to keep apolitical. During my twenty-two years at the American Scholar , the name of no current United States president was mentioned. If anything resembling a theme emerged during my editorship, it was the preservation of the tradition of the liberal arts, a subject on which I was able to acquire contributions from Jacques Barzun, Paul Kristeller, Hugh Trevor-Roper, Frederick Crews, and others.

That I was fired not for anything I had done but for things I had failed to do is an indication of how far we had come in the realm of political correctness. I take up this topic in my autobiography, one theme of which is the vast changes that have taken place in American culture over my lifetime. A notable example is an essay on homosexuality that I wrote and published in Harper’s in 1970, a mere fifty-three years ago. The essay made the points that we still did not know much about the origin of male homosexuality, that there was much hypocrisy concerning the subject, that homosexuals were living under considerable social pressure and prejudice, and that given a choice, most people would prefer that their children not be homosexual. This, as I say, was in 1970, before the gay liberation movement had got underway in earnest. The essay attracted a vast number of letters in opposition, and a man named Merle Miller, who claimed I was calling for genocide of homosexuals, wrote a book based on the essay. Gore Vidal, never known for his temperate reasoning, claimed my argument was ad Hitlerum . (Vidal, after contracting Epstein-Barr virus late in life, claimed that “Joseph Epstein gave it to me.”) I have never reprinted the essay in any of my collections because I felt that it would stir up too much strong feeling. For what it is worth, I also happen to be pleased by the greater tolerance accorded homosexuality in the half century since my essay was published.

The larger point is that today neither Harper’s nor any other mainstream magazine would dare to publish that essay. Yet a few years after the essay was published, I was offered a job teaching in the English Department of Northwestern University, and the year after that, I was appointed editor of the American Scholar. Today, of course, neither job would have been available to me.

Do these matters—my cancellation from the American Scholar , my unearned reputation as a homophobe—come under the heading of self-justification? Perhaps so. But then, what better, or at least more convenient, place to attempt to justify oneself than in one’s autobiography?

Many changes have taken place in my lifetime, some for the better, some for the worse, some whose value cannot yet be known. I note, for example, if not the death then the attenuation of the extended family (nephews, nieces, cousins) in American life. Whereas much of my parents’ social life revolved around an extensive cousinage, I today have grandnephews and grandnieces living on both coasts whom I have never met and probably never shall. I imagine some of them one day being notified of my death and responding, “Really? [Pause] What’s for dinner?”

I take up in my autobiography what Philip Rieff called, in his book of this title, the Triumph of the Therapeutic, a development that has altered child-rearing, artistic creation, and much else in our culture. Although the doctrines of Sigmund Freud, Carl Jung, and others are no longer taken as gospel, their secondary influence has conquered much of modern culture. My parents’ generation did not hold with therapeutic culture, which contends that the essentials of life are the achievement of self-esteem and individual happiness, replacing honor, courage, kindness, and generosity.

In my autobiography, I note that when my mother was depressed by her knowledge that she was dying of cancer, a friend suggested that there were support groups for people with terminal diseases, one of which might be helpful. I imagined telling my mother about such groups, and her response: “Let me see,” she is likely to have said. “You want me to go into a room with strangers, where I will listen to their problems and then I’ll tell them mine, and this will make me feel better.” Pause. “Is this the kind of idiot I’ve raised as a son?”

T hen there is digital culture, the verdict on which is not yet in. Digital culture has changed the way we read, think, make social connections, do business, and so much more. I write in my autobiography that in its consequences digital culture is up there with the printing press and the automobile. Its influence is still far from fully fathomed.

One of my challenges in writing my autobiography was to avoid seeming to brag about my quite modest accomplishments. In the Rhetoric , Aristotle writes: “Speaking at length about oneself, making false claims, taking the credit for what another has done, these are signs of boastfulness.” I tried not to lapse into boasting. Yet at one point I quote Jacques Barzun, in a letter to me, claiming that as a writer I am in the direct line of William Hazlitt, though in some ways better, for my task—that of finding the proper language to establish both intimacy and critical distance—is in the current day more difficult than in Hazlitt’s. At least I deliberately neglected to mention that, in response to my being fired from the American Scholar, Daniel Patrick Moynihan flew an American flag at half-mast over the Capitol, a flag he sent to me as a souvenir. Quoting others about my accomplishments, is this anything other than boasting by other means? I hope so, though even now I’m not altogether sure.

I have a certain pride in these modest accomplishments. Setting out in life, I never thought I should publish some thirty-odd books or have the good luck to continue writing well into my eighties. The question for me as an autobiographer was how to express that pride without preening. The most efficient way, of course, is never to write an autobiography.

Why, then, did I write mine? Although I have earlier characterized writing as a form of discovery, I did not, in writing my autobiography, expect to discover many radically new things about my character or the general lineaments of my life. Nor did I think that my life bore any lessons that were important to others. I had, and still have, little to confess; I have no hidden desire to be spanked by an NFL linebacker in a nun’s habit. A writer, a mere scribbler, I have led a largely spectatorial life, standing on the sidelines, glass of wine in hand, watching the circus pass before me.

Still, I wrote my autobiography, based in a loose way on Wordsworth’s notion that poetry arises from “emotion recollected in tranquility.” Writing it gave me an opportunity to review my life at the end of my life in a tranquil manner. I was able to note certain trends, parallels, and phenomena that have marked my life and set my destiny.

The first of these, as I remarked earlier, was the fortunate time in which I was born, namely the tail end of the Great Depression—to be specific, in 1937. Because of the Depression, people were having fewer children, and often having them later. (My mother was twenty-seven, my father thirty at my birth.) Born when it was, my generation, though subject to the draft—not, in my experience of it, a bad thing—danced between the wars: We were too young for Korea, too old for Vietnam. We were also children during World War II, the last war the country fully supported, which gave us a love of our country. Ours was a low-population generation, untroubled by the vagaries of college admissions or the trauma of rejection by the school of one’s choice. Colleges, in fact, wanted us.

Or consider parents, another fateful phenomenon over which one has no choice. To be born to thoughtless, or disagreeable, or depressed, or deeply neurotic parents cannot but substantially affect all one’s days. Having a father who is hugely successful in the world can be as dampening to the spirit as having a father who is a failure. And yet about all this one has no say. I have given the chapter on my parents the title “A Winning Ticket in the Parents Lottery,” for my own parents, though neither went to college, were thoughtful, honorable, and in no way psychologically crushing. They gave my younger brother and me the freedom to develop on our own; they never told me what schools to attend, what work to seek, whom or when to marry. I knew I was never at the center of my parents’ lives, yet I also knew I could count on them when I needed their support, which more than once I did, and they did not fail to come through. As I say, a winning ticket.

As one writes about one’s own life, certain themes are likely to emerge that hadn’t previously stood out so emphatically. In my case, one persistent motif is that of older boys, then older men, who have supported or aided me in various ways. A boy nearly two years older than I named Jack Libby saw to it that I wasn’t bullied or pushed around in a neighborhood where I was the youngest kid on the block. In high school, a boy to whom I have given the name Jeremy Klein taught me a thing or two about gambling and corruption generally. Later in life, men eight, nine, ten, even twenty or more years older than I promoted my career: Hilton Kramer in promoting my candidacy for the editorship of the American Scholar , Irving Howe in helping me get a teaching job (without an advanced degree) at Northwestern, John Gross in publishing me regularly on important subjects in the Times Literary Supplement , Edward Shils in ways too numerous to mention. Something there was about me, evidently, that was highly protégéable.

I haven’t yet seen the index for my autobiography, but my guess is that it could have been name-ier. I failed, for example, to include my brief but pleasing friendship with Sol Linowitz. Sol was the chairman of Xerox, and later served the Johnson administration as ambassador to the Organization of American States. He also happened to be a reader of mine, and on my various trips to Washington I was often his guest at the F Street Club, a political lunch club where he reserved a private room in which we told each other jokes, chiefly Jewish jokes. I might also have added my six years as a member of the National Council of the National Endowment for the Arts, whose members included the actors Robert Stack and Celeste Holm, the Balanchine dancer Arthur Mitchell, Robert Joffrey, the soprano Renée Fleming, the novelist Toni Morrison, the dancer and choreographer Martha Graham, the architect I. M. Pei, the painter Helen Frankenthaler, and other highly droppable names.

Confronting one’s regrets is another inescapable element in writing one’s autobiography. Ah, regrets: the red MG convertible one didn’t buy in one’s twenties, the elegant young Asian woman one should have asked to dinner, the year one failed to spend in Paris. The greater the number of one’s regrets, the grander their scope, the sadder, at its close, one’s life figures to be. I come out fairly well in the regrets ledger. I regret not having studied classics at university, and so today I cannot read ancient Greek. I regret not having been a better father to my sons. I regret not asking my mother more questions about her family and not telling my father what a good man I thought he was. As regrets go, these are not minor, yet neither have I found them to be crippling.

Then there is the matter of recognizing one’s quirks, or peculiar habits. A notable one of mine, acquired late in life, is to have become near to the reverse of a hypochondriac. I have not yet reached the stage of anosognosia, or the belief that one is well when one is ill—a stage, by the way, that Chekhov, himself a physician, seems to have attained. I take vitamins, get flu and Covid shots, and watch what I eat, but I try to steer clear of physicians. This tendency kicked in not long after my decades-long primary care physician retired. In his The Body: A Guide for Occupants , Bill Bryson defines good health as the health enjoyed by someone who hasn’t had a physical lately. The ancients made this point more directly, advising bene caca et declina medicos (translation on request) . For a variety of reasons, physicians of the current day are fond of sending patients for a multiplicity of tests: bone density tests, colonoscopies, biopsies, X-rays of all sorts, CT scans, MRIs, stopping only at SATs. I am not keen to discover ailments that don’t bother me. At the age of eighty-seven, I figure I am playing with house money, and I have no wish to upset the house by prodding my health in search of imperfections any more than is absolutely necessary.

The older one gets, unless one’s life is lived in pain or deepest regret, the more fortunate one feels. Not always, not everyone, I suppose. “The longer I live, the more I am inclined to the belief that this earth is used by other planets as a lunatic asylum,” said George Bernard Shaw, who lived to age ninety-four. Though the world seems to be in a hell of a shape just now, I nonetheless prefer to delay my exit for as long as I can. I like it here, continue to find much that is interesting and amusing, and have no wish to depart the planet.

Still, with advancing years I have found my interests narrowing. Not least among my waning interests is that in travel. I like my domestic routine too much to abandon it for foreign countries where the natives figure to be wearing Air Jordan shoes, Ralph Lauren shirts, and cargo pants. Magazines that I once looked forward to, many of which I have written for in the past, no longer contain much that I find worth reading. A former moviegoer, I haven’t been to a movie theater in at least a decade. The high price of concert and opera tickets has driven me away. The supposedly great American playwrights—Arthur Miller, Tennessee Williams, Eugene O’Neill, Edward Albee—have never seemed all that good to me, and I miss them not at all. If all this sounds like a complaint that the culture has deserted me, I don’t feel that it has. I can still listen to my beloved Mozart on discs, read Tolstoy, Jane Austen, Dickens, George Eliot, Willa Cather, and the other great novelists, watch the splendid movies of earlier days on Turner Classics and HBO—live, in other words, on the culture of the past.

“Vho needs dis?” Igor Stravinsky is supposed to have remarked when presented with some new phenomena of the avant-garde or other work in the realm of art without obvious benefit. “Vho needs dis?” is a question that occurred to me more than once or twice as I wrote my autobiography. All I can say is that those who read my autobiography will read of the life of a man lucky enough to have devoted the better part of his days to fitting words together into sentences, sentences into paragraphs, and paragraphs into essays and stories on a wide variety of topics. Now in his autobiography all the sentences and paragraphs are about his own life. He hopes that these sentences are well made, these paragraphs have a point, and together they attain to a respectable truth quotient, containing no falsehoods whatsoever. He hopes that, on these modest grounds at least, his autobiography qualifies as worth reading.

Joseph Epstein is author of Gallimaufry , a collection of essays and reviews.

Image by Museum Rotterdam on Wikimedia Commons , licensed via Creative Commons . Image cropped.

Articles by Joseph Epstein

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autobiography noun

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Earlier version

autobiography in OED Second Edition (1989)

What does the noun autobiography mean?

There is one meaning in OED's entry for the noun autobiography . See ‘Meaning & use’ for definition, usage, and quotation evidence.

How common is the noun autobiography ?

How is the noun autobiography pronounced, british english, u.s. english, where does the noun autobiography come from.

Earliest known use

The earliest known use of the noun autobiography is in the late 1700s.

OED's earliest evidence for autobiography is from 1797, in the writing of William Taylor, reviewer and translator.

autobiography is formed within English, by compounding; perhaps modelled on a German lexical item.

Etymons: auto- comb. form 1 , biography n.

Nearby entries

autobasidium, n. 1895–
autobio, n. 1856–
autobiog, n. 1829–
autobiographal, adj. 1845–
autobiographer, n. 1807–
autobiographic, adj. 1818–
autobiographical, adj. 1807–
autobiographically, adv. 1822–
autobiographical novel, n. 1832–
autobiographist, n. 1820–
autobiography, n. 1797–
autobiopic, n. 1977–
auto body, n. 1904–
auto-boot, n. 1981–
auto-boot, v. 1984–
auto-booting, adj. 1983–
autobox, n. 1977–
autobracketing, n. 1985–
auto-burglar, n. 1884
autocade, n. 1924–
auto camp, n. 1904–

Meaning & use

The next dissertation concerns Diaries, and Self-biography . We are doubtful whether the latter word be legitimate: it is not very usual in English to employ hybrid words partly Saxon and partly Greek: yet autobiography would have seemed pedantic.

This very amusing and unique specimen of autobiography .

Geology (as Sir C. Lyell has so happily expressed it) is ‘the autobiography of the earth’.

We live in an age when men treat art as if it were meant to be a form of autobiography .

The autobiography in your letter..has pleased me a good deal.

Dent's will be pleased to hear that my Welsh book, a sort of provincial autobiography , is coming on well.

An autobiography is a book a person writes about his own life and it is usually full of all sorts of boring details.

The Cockney beauty's autobiography ..has become a surprise hit, debuting at number four in the best-seller lists.

story 1533– With possessive adjective or genitive. A person's account of the events of his or her life or a part of it. Cf. life story , n. , and also sense 8.
autography 1661– = autobiography , n. rare .
memoirs 1676– In plural . Autobiographical observations; reminiscences. Frequently modified by a possessive.
idiography a1734 Autobiography; writing about oneself. Obsolete . rare .
self-biography 1796– An account of the life of an individual written by himself or herself; an autobiography. Also: the genre comprising such work.
autobiography 1797– An account of a person's life given by himself or herself, esp. one published in book form. Also: the process of writing such an account; these…
reminiscence 1797– Chiefly in plural . A recollection or memory of a past fact or experience recounted to others; spec. (usually in plural ) a person's collective…
autobiog 1829– = autobiography , n.
autobio 1856– = autobiography , n.
auto 1881– = autobiography , n.
curriculum vitae 1902– A course; spec. a regular course of study or training, as at a school or university. (The recognized term in the Scottish Universities.) curriculum …
biodata 1947– ( plural ) biographical details, esp. summarizing a person's educational and employment history, academic career, etc.; (with singular agreement) =…
vita 1949– A biography, the history of a life; spec. = curriculum vitae n. at curriculum , n.
c.v. 1971– = curriculum vitae n. at curriculum , n.

Pronunciation

ð th ee
ɬ rhingy ll

Some consonants can take the function of the vowel in unstressed syllables. Where necessary, a syllabic marker diacritic is used, hence <petal> /ˈpɛtl/ but <petally> /ˈpɛtl̩i/.

a trap, bath
ɑː start, palm, bath
ɔː thought, force
ᵻ (/ɪ/-/ə/)
ᵿ (/ʊ/-/ə/)

Other symbols

The symbol ˈ at the beginning of a syllable indicates that that syllable is pronounced with primary stress.
The symbol ˌ at the beginning of a syllable indicates that that syllable is pronounced with secondary stress.
Round brackets ( ) in a transcription indicate that the symbol within the brackets is optional.

View the pronunciation model here .

* /d/ also represents a 'tapped' /t/ as in <bitter>

Some consonants can take the function of the vowel in unstressed syllables. Where necessary, a syllabic marker diacritic is used, hence <petal> /ˈpɛd(ə)l/ but <petally> /ˈpɛdl̩i/.

i fleece, happ y
æ trap, bath
ɑ lot, palm, cloth, thought
ɔ cloth, thought
ɔr north, force
ə strut, comm a
ər nurse, lett er
ɛ(ə)r square
æ̃ sal on

Simple Text Respell

Simple text respell breaks words into syllables, separated by a hyphen. The syllable which carries the primary stress is written in capital letters. This key covers both British and U.S. English Simple Text Respell.

b, d, f, h, k, l, m, n, p, r, s, t, v, w and z have their standard English values

arr carry (British only)
a(ng) gratin
o lot (British only)
orr sorry (British only)
o(ng) salon

autobiography typically occurs about six times per million words in modern written English.

autobiography is in frequency band 5, which contains words occurring between 1 and 10 times per million words in modern written English. More about OED's frequency bands

Frequency of autobiography, n. , 1790–2010

* Occurrences per million words in written English

Historical frequency series are derived from Google Books Ngrams (version 2), a data set based on the Google Books corpus of several million books printed in English between 1500 and 2010.

The overall frequency for a given word is calculated by summing frequencies for the main form of the word, any plural or inflected forms, and any major spelling variations.

For sets of homographs (distinct entries that share the same word-form, e.g. mole , n.¹, mole , n.², mole , n.³, etc.), we have estimated the frequency of each homograph entry as a fraction of the total Ngrams frequency for the word-form. This may result in inaccuracies.

Smoothing has been applied to series for lower-frequency words, using a moving-average algorithm. This reduces short-term fluctuations, which may be produced by variability in the content of the Google Books corpus.

Frequency of autobiography, n. , 2017–2023

Modern frequency series are derived from a corpus of 20 billion words, covering the period from 2017 to the present. The corpus is mainly compiled from online news sources, and covers all major varieties of World English.

Compounds & derived words

autobiog , n. 1829– = autobiography, n.
autobiographal , adj. 1845– = autobiographical, adj.
autobio , n. 1856– = autobiography, n.
auto , n.³ 1881– = autobiography, n.

Entry history for autobiography, n.

autobiography, n. was revised in June 2011.

autobiography, n. was last modified in July 2023.

oed.com is a living text, updated every three months. Modifications may include:

further revisions to definitions, pronunciation, etymology, headwords, variant spellings, quotations, and dates;
new senses, phrases, and quotations.

Revisions and additions of this kind were last incorporated into autobiography, n. in July 2023.

Earlier versions of this entry were published in:

OED First Edition (1885)

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OED Second Edition (1989)

View autobiography in OED Second Edition

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Citation details

Factsheet for autobiography, n., browse entry.

Cast & crew

Piece by Piece

Follow this autobiography where Pharrell Williams shows his imaginative and creative process using Lego, as he constructs Lego models representing his artistic development. Each build reflec... Read all Follow this autobiography where Pharrell Williams shows his imaginative and creative process using Lego, as he constructs Lego models representing his artistic development. Each build reflects a different creative milestone. Follow this autobiography where Pharrell Williams shows his imaginative and creative process using Lego, as he constructs Lego models representing his artistic development. Each build reflects a different creative milestone.

Morgan Neville
Pharrell Williams

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Autobiography

Difference between Autobiography and Memoir

Six Types of Autobiography

Importance of Autobiography

Examples of Autobiography in Literature

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

Example #3: Self Portraits: Fictions by Frederic Tuten

Example #4: My Prizes by Thomas Bernhard

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

Synonyms of Autobiography

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autobiography

The History of Autobiography

Types of Autobiographies

The Function of Autobiography

Writers Known for Autobiography & Autobiography Books

Examples of Autobiographies

How to Write an Autobiography

Further Resources on Autobiography

Related Terms

How to Define Autobiography

Examples of Autobiographical Prose

Examples and Observations of Autobiographical Compositions

(page 1) p. 1 Introduction

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Definition of autobiography

Word History

Phrases Containing autobiography

Dictionary Entries Near autobiography

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11+ Autobiography Examples: A Detailed Guide

Memoir Vs Autobiography Example

Autobiography Outline Examples

How to Write an Autobiography - Examples

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High School Autobiography Example

Spiritual Autobiography Example for College Students

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A History of English Autobiography (Cambridge University Press, 2016) -- uncorrected proofs

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autobiography noun

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Frequency of autobiography, n. , 1790–2010

Frequency of autobiography, n. , 2017–2023