literary nonfiction includes biographies autobiographies and

Literary Non-Fiction

Literary non-fiction is a type of writing that has similar characteristics to fictional texts. Like fictional texts , literary non-fiction often has a main purpose to entertain but is an entertaining piece of writing about real events rather than imaginary ones. They inform and provide factual information as well as entertaining their reader. Types of literary non-fiction include:

• Autobiographies and biographies
• Accounts of famous/historical events
• Feature articles
• Travel writing

Autobiographies and biographies are forms of writing that are based on real people. An autobiography is where the writer writes about themselves whereas a biography is where the writer writes about someone else. Often, autobiographies and biographies are whole books that focus on someone’s entire life; however, they can also focus on a specific period of someone’s life, a particular event that occurred in their life, or their family and friends. They can even sometimes be shorter than a whole book. Usually, celebrities and other famous individuals have autobiographies or biographies written about them but less well known and even completely unknown individuals can also be interesting, informative or entertaining due to a particular experience they have had.

The opening paragraph of Chapter 1 of David Rigg’s biography The World of Christopher Marlowe has been provided below.

David Rigg’s biography of Christopher Marlowe begins with introducing Marlowe’s father John Marlowe. As you can see from the extract, creative writing is included along with the factual information being provided. This makes the text not only factual but also interesting. Autobiographies and biographies are normally written both to inform and to entertain their reader. To fulfil both of these purposes, most autobiographies and biographies are normally made up of a mix of factual information and creative writing.

Accounts of famous/historical events are a type of literary non-fiction that can seem similar to an autobiography or biography, however, instead of being written about actual people, they will be written about famous/historical events. Similar to autobiographies and biographies, literary non-fiction about famous/historical events will often be to both inform and entertain a reader; this means that it will include a mix of factual information and creative writing. Sometimes, a fictional character may be included in the text to help illustrate the event taking place. This can be seen in the film Suffragette (2015). The audience follows the protagonist Maud Watt’s through her life during the early years of the 20 th century. Maud Watt’s is a fictional character that is used to help illustrate some of the common problems of the time. She is surrounded by other characters, for example, Emily Wilding Davison who was an actual woman that played a significant part in the suffragette movement.  

Blogs are a common form of literary non-fiction that are written all over the world. Blogs are regularly updated websites or web pages and they can be written by anyone who has access to the internet. Blogs can be run by small groups of people or by an individual. Blogs are similar to diary entries as they tend to contain a more informal, conversational style but, unlike diary entries, they can be written for many different purposes. Examples of different types of blogs are:

• A book/film review blog
• A travel log for people visiting different destinations

There are many different types of blogs on the internet than just the ones mentioned above. Some common features of blogs are listed below:

• The language is often informal and conversational
• They may not always have a clear audience; it may be aimed at anyone who might be interested
• They can vary in appearance to create different effects; for example, in size, font colour
• They often include a lot of images to help grab the reader’s attention
• They can sometimes include video clips if necessary
• They often use links to other web pages that include relevant information
• They are usually written in first person and are often quite personal

There are a numerous number of blogs to look up on the internet if you are interested in reading some for yourself. A lot of companies and organisations also have blogs so they can communicate informally with their audience; this is often a younger audience.

Essays are a creative form of literary non-fiction that are usually written by students or by someone who is considered an expert in their field. University lecturers commonly write essays to express their different ideas and opinions about a certain topic, to make an argument or to compare something; for example, to compare two literary texts. There are many different types of essays but some common features of most essays are:

• They have a clear structure with an introduction that introduces their idea, a number of paragraphs outlining different points that develop their idea, and a conclusion used to summarise the essay
• They are written using formal, Standard English and normally include a specialised vocabulary that is normally specific to a certain field of study
• They develop a line of argument
• They often include literary devices that are used throughout

An extract taken from Virginia Woolf’s essay How It Strikes a Contemporary (1925) has been provided for you below:

The extract above is just the first two paragraphs of Woolf’s essay. The essay as a whole deals with Woolf exploring the issues that contemporary writers and readers faced during the modernist period. Essays like the one provided can sometimes be difficult to read and it can take two, three or sometimes four readings of an essay before you can properly grasp its content and analyse it successfully. If you are presented with any essays in the exam, then they will normally be a little easier to understand than the one provided. Reading a range of essays from other writers can help to develop your ability in reading essays and also your ability in your own essay writing, which can greatly help you when writing your own essays in the exam.

Feature articles are a form of literary non-fiction that are a type of newspaper or magazine article but rather than appearing as formal and informative, they are usually written in an individual style and have a personal slant. We will discuss the features of feature articles when we go into detail about magazine and newspaper articles in a later chapter.

Travel writing can be a form of literary non-fiction about visiting different places. It can be written as a narrative that is telling a story about a journey or place or it can be written as a blog. Alternatively, travel writing can also appear as a magazine/newspaper article that informs readers about journeys and destinations. Travel writing in magazine/newspaper articles will be much more detailed and formal compared to travel blogs. Some features of travel writing are:

• It has a purpose to entertain as well as to inform
• It is usually written using first person narration
• It is often descriptive and uses a lot of descriptive writing (we will go into detail about descriptive writing in Unit 4 of this course)

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8.2–Nonfiction Genres

Matt McKinney

As other chapters have pointed out, genres provide writers with structural templates and conventions that they can choose to adhere to or deviate from. Most readers are familiar with genre conventions and structures, and come to expect that writers will decide either to follow them or break them creatively. These decisions are the first indicator that nonfiction writers must make creative choices, just as fiction writers do. Here are some of the more prevalent genres in nonfiction.

Autobiographies & Memoirs

While most people are aware that autobiographies and memoirs are nonfiction texts that focus on the author’s life, these words are not inherently interchangeable; instead, they represent an important creative choice that the writer made regarding what to emphasize in their life and how to structure it.

An autobiography always covers the entirety of the author’s life, from birth until the present day. This focus entails a chronological structure, and also predisposes the writer to frame every phase of their life as thematically significant for one reason or another. An author’s decision to cover the full extent of their life might suggest a desire to appear authentic to their audience (i.e. by not simply providing a highlight reel of their biggest accomplishments). It could also indicate that the author wants to contextualize their greatest or most famous accomplishments, so that the reader can see the struggles they endured or the formative moments they went through to get to their current status. Further still, the full scope of the author’s life might call attention to a part of themselves that’s less well-known but that they want their audience to understand. An autobiography can also be an author’s attempt to take stock of their lives and form a narrative from it. Any and all of these motivations can inform the author’s decision to write an autobiography.

Memoirs, by contrast, differ in that they only focus on a select part of an author’s life. This narrower focus could be because the author wants to focus on a particularly formative or famous (or infamous) experience in their life. Some memoirs, like David Sedaris’s works, are collections of memories, with each chapter covering an experience that ties to a larger theme about the author as a person or their outlook on life. Whether an author chooses to frame their life in an autobiography or a memoir, and regardless of their approach to either genre or their motive in crafting their text, none of these choices alter the fact that the author is focusing on real events (or at least their perception of them). As concrete and limited as nonfiction may appear in comparison to fiction, there is still quite a range of creative possibilities in this one genre.

Biographies

Though the focus of a biography is identical to that of an autobiography in that it is an account of someone’s life, biographies differ in that the author is writing about someone else’s life, and this entails an entirely different array of creative choices. To begin with, a famous person or historical figure often has multiple biographies written about them over long stretches of time, so a biographical author must focus on research in order to avoid libel and potential litigation. They also must establish their work as definitive or unique in comparison to other biographies.

For example, let’s say an author decides to write a biography about Robert E. Lee. Is the biography going to focus largely on his military career during the Civil War (as most Lee biographies do)? Will it focus on earlier times in his life (his childhood, time at West Point, the Mexican-American War), or during Reconstruction? Will it focus on more negative aspects of his legacy, such as his white supremacist beliefs and treatment of the enslaved Black Americans he owned? Will it review and critique prior biographies on Lee, or will it focus on new historical evidence? The author’s answers to these questions will have the largest impact on how they craft this nonfiction text.

Similar to fictional works of literature, many nonfiction essays address themes of social, historical, and cultural identity and character. Unlike fictional works, which often explore these ideas through allegory or characters, essays give authors the ability to address readers more directly, frame contemporary issues in a variety of aspects (from ironic satire to direct calls to action), and also craft a mutual collective identity with the readers whom these writers want to reach. For example, two prominent authors of fiction, Dorothy Parker and Mark Twain, simultaneously published non-fictional satire and social commentary on contemporary events.

In other cases, some essays’ influence has been so pervasive that they led to the creation of new genres. For example, Truman Capote’s In Cold Blood , originally composed as a series of essays rather than a novel, is often credited with inspiring the true crime genre that emerged after its publication.

Similar to essays, speeches narrow the gap between a writer, their audiences, and contemporary events. In fact, speeches often narrow this gap even more so than essays. This is not only because they tend to respond to a more specific exigence than other nonfiction forms of literature, but also because they are either composed orally or meant to be read aloud at a specific moment in time.

The second nonfiction text that this chapter will focus on, Frederick Douglass’s “What to the Slave is the Fourth of July,” was prepared to be read at a specific event: an 1852 meeting of the Rochester Ladies’ Anti-Slavery Society in New York. Because of the speech’s import regarding the culture, history, and legacy of the United States, however, we continue to read it today and find it remains relevant in critiquing the white supremacist legacy of the nation.

Letters/Correspondence

Letters and correspondence (often from or between writers) can also be considered forms of nonfiction literature. More intimate than most of the other genres listed here, correspondence is shaped by the relationship between the writer and, usually, an audience of one. Letters exchanged form exigencies for one another (i.e., receiving a letter inspires the writing of another in response, and so on), and writers often employ the same tropes, schemes, and other literary elements that they might use in fiction. This includes point of view, diction, figurative language, symbolism, etc.

Additionally, literary correspondence can provide essential context for studying a fictional work, such as when an author writes to a literary critic or a loved one about a text. Mark Twain, for instance, frequently wrote letters to his publishers–enough for them to be published into their own collection, Mark Twain’s Letters to His Publishers .

Study Questions for Nonfiction Genre Categories

• What genres of nonfiction cater to the broadest audiences, and which seem the most intimate? Why?
• What should a nonfiction writer consider when choosing a genre for their text?
• Take a look at the “Spotlight” section below. In terms of composition, what are some important ways an essay like Thomas Paine’s typically differs from a speech like Frederick Douglass’s?

Attribution:

McKinney, Matt. “Literary Nonfiction: Nonfiction Genres.” In Surface and Subtext: Literature, Research, Writing . 3rd ed. Edited by Claire Carly-Miles, Sarah LeMire, Kathy Christie Anders, Nicole Hagstrom-Schmidt, R. Paul Cooper, and Matt McKinney. College Station: Texas A&M University, 2024. Licensed under a Creative Commons Attribution-NonCommercial 4.0 International License .

8.2--Nonfiction Genres Copyright © 2024 by Matt McKinney is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

Literary Terms: Narrative Nonfiction, Autobiography, and Memoir

 There’s something special about excellent nonfiction, but the water gets muddy when you try to label works under its large umbrella. Today, as part of our literary terms series, we examine three methods of telling a true story as we explore the similarities and differences among narrative nonfiction, autobiography, and memoir. (In past literary terms posts we have discussed the difference between terror and horror ; apocalyptic, dystopian, and post-apocalyptic fiction; and legend, myth, and fairy tale . Take a look!)

Narrative Nonfiction

Considered a fairly new genre, narrative nonfiction (also called creative nonfiction) uses literary styles and techniques to write factually accurate narratives. Some recognizable narrative nonfiction titles include: In Cold Blood by Truman Capote, Into Thin Air by John Krakauer, and The Right Stuff by Tom Wolfe. What is apparent in each of these titles—and in narrative nonfiction in general—are the features of fiction, such as scenes and plot, adapted for the purpose of journalism to create a compelling and readable story. Clearly, there are no thesis statements allowed. According to literary critic Barbara Lounsberry, there are four recognizable elements to narrative nonfiction: the topics and events must exist in the real world (not in the mind of the author), there must be exhaustive research, all scenes must be in context, and it should all be presented in a literary style. Narrative nonfiction is therefore a broad category, lacking hard rules on subject matter or style. And to make things difficult, both autobiography and memoir fall under its large umbrella.

Autobiography and Memoir

Jokingly coined in 1797 by William Taylor as an absurdly precise combination, the term “autobiography” is composed of the Greek words for self , life, and to write. True to Taylor’s description, an autobiography is an account of a person’s life written by that person. Although they have gone by different names in the past, autobiographies have been around for literal ages—from Augustine to Rousseau. Autobiography can be difficult to differentiate from memoir (it is interesting to note that Amazon puts them in the same category), and often the terms are used interchangeably but there are a few distinct differences.

Autobiographies tend to chronicle the writer’s entire life, or a vast majority, whereas a memoir’s focus can rest on a smaller set of years or single event. In an article by The Guardian, Ian Jack refers to the autobiography as a record of accomplishment, one that can be written (or written by a ghostwriter) by any kind of person, whereas memoir has a more literary style. He writes: “The memoir’s ambition is to be interesting in itself, as a novel might be, about intimate, personal experience. It often aspires to be thought of as “literary”, and for that reason borrows many of literature’s tricks—the tricks of the novel, of fiction—because it wants to do more than record the past; it wants to re-create it.” Elie Wiesel’s Night is an autobiographical account of his own experiences in the concentration camps of World War II, but it is classified as a memoir because it covers a very specific time in his life. Henry David Thoreau’s Walden is also a memoir, as it covers only two years of his life and dwells on very specific memories. Because both autobiography and memoir are generated from the memories and personal experiences of the writer, by nature they are more subjective and therefore naturally draw questions regarding factual accuracy. As a result, there is an ongoing debate about how closely the two forms should be classified, or given distance from, the term nonfiction .

Do you have a favorite piece of narrative nonfiction or a way you clarify between the three categories? If so, share in the comments!

by Kimberly Guerin

New Voices: "Rattlesnake Valley" by Sorrel Westbrook

Roxane gay to judge the masters review anthology volume vi.

Defining Nonfiction Writing

Andersen Ross / Getty Images

• 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

Etymology : From the Latin, "not" + "shaping, feigning"

Pronunciation : non-FIX-shun

Nonfiction is a blanket term for  prose accounts of real people, places, objects, or events. This can serve as an umbrella encompassing everything from Creative Nonfiction and Literary Nonfiction to  Advanced Composition ,  Expository Writing , and Journalism .

Types of nonfiction include articles , autobiographies , biographies , essays , memoirs , nature writing , profiles , reports , sports writing , and travel writing .

Observations

• "I see no reason why the word [ artist ] should always be confined to writers of fiction and poetry while the rest of us are lumped together under that despicable term 'Nonfiction'— as if we were some sort of remainder. I do not feel like a Non-something; I feel quite specific. I wish I could think of a name in place of 'Nonfiction.' In the hope of finding an antonym , I looked up 'Fiction' in Webster and found it defined as opposed to 'Fact, Truth, and Reality.' I thought for a while of adopting FTR, standing for Fact, Truth, and Reality, as my new term." (Barbara Tuchman, "The Historian as Artist," 1966)
• "It's always seemed odd to me that nonfiction is defined, not by what it is , but by what it is not . It is not fiction. But then again, it is also not poetry, or technical writing or libretto. It's like defining classical music as nonjazz ." (Philip Gerard, Creative Nonfiction . Story Press, 1996)
• "Many writers and editors add 'creative' to 'nonfiction' to mollify this sense of being strange and other, and to remind readers that creative nonfiction writers are more than recorders or appliers of reason and objectivity. Certainly, many readers and writers of creative nonfiction recognize that the genre can share many elements of fiction." (Jocelyn Bartkevicius, "The Landscape of Creative Nonfiction," 1999)
• "If nonfiction is where you do your best writing or your best teaching of writing, don't be buffaloed into the idea that it's an inferior species. The only important distinction is between good writing and bad writing." (William Zinsser, On Writing Well , 2006)
• The Common Core State Standards (US) and Nonfiction "One central concern is that the Core reduces how much literature English teachers can teach. Because of its emphasis on analysis of information and reasoning, the Core requires that 50 percent of all reading assignments in elementary schools consist of nonfiction texts . That requirement has sparked outrage that masterpieces by Shakespeare or Steinbeck are being dropped for informational texts like 'Recommended Levels of Insulation' by the Environmental Protection Agency." ("The Common Core Backlash." The Week , June 6, 2014)
• An Introduction to Literary Nonfiction
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• Tips on Great Writing: Setting the Scene
• Are Literature and Fiction the Same?
• Great Summer Creative Writing Programs for High School Students
• Examples of Images in Poetry, Fiction, and Nonfiction
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• Third-Person Point of View

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Article contents

Life writing.

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

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

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

• autobiography
• autofiction
• life narrative

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

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

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

From Biography to Autobiography to Life Writing

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

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

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

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

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

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

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

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

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

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

Backlash, Boomlash, and Boom Echo

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

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

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

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

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

Biography Studies Sustained—Residual as Dominant and Emergent

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

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

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

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

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

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

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

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

Autobiography and Auto/Biography—Mapping Self-Representation

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

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

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

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

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

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

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

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

Life Writing and Life Narrative—Emergence and Pervasion

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

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

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

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

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

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

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

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

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

Are Life Narratives always Life Writing?

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

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

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

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

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

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

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

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

Future Thoughts—Life, Biobits, and the Environment

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

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

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

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

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

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

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

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

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

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

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

3. Kadar, “Coming to Terms,” 9.

4. Kadar, “Coming to Terms,” 10.

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

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

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

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

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

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

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

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

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

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

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

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

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

18. Jolly, Encyclopedia , ix, x.

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

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

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

22. Smith and Watson, Reading Autobiography , 211.

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

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

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

26. Smith and Watson, Reading Autobiography , 215.

27. Smith and Watson, Reading Autobiography , 218.

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

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

30. Kadar, “Coming to Terms,” 10.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

67. Kadar, “Coming to Terms.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

96. Kadar, “Coming to Terms.”

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

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

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

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

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

102. Kadar, “The Devouring,” 226.

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

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Autobiography

Definition of autobiography.

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

Difference between Autobiography and Memoir

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

Six Types of Autobiography

There are six types of autobiographies:

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

Importance of Autobiography

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

Examples of Autobiography in Literature

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

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

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

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

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

Example #3:  Self Portraits: Fictions by Frederic Tuten

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

Example #4:  My Prizes by Thomas Bernhard

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

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

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

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

Synonyms of Autobiography

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

Related posts:

• The Autobiography of Malcolm X

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The New Outliers: How Creative Nonfiction Became a Legitimate, Serious Genre

Lee gutkind on the birth and surprising history of a different type of narrative form.

Many of my students, and even some younger colleagues, think—assume—that creative nonfiction is just part of the literary ecosystem; it’s always been around, like fiction or poetry. In many ways, of course, they are right: the kind of writing that is now considered to be under the creative nonfiction umbrella has a long and rich history. Many, of course, look to Michel de Montaigne as the father of the modern essay, but, to my mind, the more authentic roots of creative nonfiction are in the eighteenth century: Daniel Defoe’s historical narratives, Benjamin Franklin’s autobiography, Thomas Paine’s pamphlets, and Samuel Johnson’s essays built a foundation for later writers such as Charles Dickens, Edgar Allen Poe, Ralph Waldo Emerson, and Henry David Thoreau.

That is to say, even if the line between fact and fiction was perhaps a little fuzzy in the early days, it’s not hard to find rich nonfiction narratives that predate the use of the word “nonfiction” (1867, according to the Oxford English Dictionary ) and were around long before the first recorded use of the phrase “creative nonfiction” (1943, according to research William Bradley did for Creative Nonfiction some years ago).

But in a lot of important ways, creative nonfiction is still very new, at least as a form of literature with its own identity. Unfortunately, it took a long time—longer than it should have, if you ask me—for the genre to be acknowledged in that ecosystem. And, of course, you’ll still encounter people who are unfamiliar with the term or want to make that dumb joke, “Creative nonfiction: isn’t that an oxymoron?”

Be that as it may, there’s no real doubt at this point that creative nonfiction is a serious genre, a real thing. You probably won’t find a “creative nonfiction” bookshelf at your local bookstore, and maybe it’s not on the menu at Amazon the way “fiction” is, but nonfiction narratives are everywhere. Newspapers, formerly the realm of straight journalism, with its inverted-pyramid, who-what-where-when-why requirements, have welcomed personal essays not only on their op-ed pages but in many different sections. Memoir, labeled a “craze” in the 1990s, is a mainstay of the publishing industry. Twenty or so years ago, almost no one was publishing essay collections, and even the word “essay” was the kiss of death if you wanted a trade publisher to consider your work, but now essay collections are routinely on best-seller lists. And, increasingly, even non-narrative creative nonfiction like lyric essays and hybrid forms have gained legitimacy and commercial viability.

So, you might ask, what happened? How did we get to this era of acceptance and legitimacy? The genre’s success, I believe, a gradual process over almost a half-century, emerged in many important ways from an unlikely and dominant source. I am not at all sure I would be writing this today, or that you would be reading this in an almost thirty-year-old magazine devoted exclusively to creative nonfiction, if not for the academy, and specifically departments of English.

Now, if you’ve been following my writing over the past thirty or so years, you may be surprised to hear me say this. After all, I’ve written a great deal about the power struggles that went on in the early 1970s, when I was teaching at the University of Pittsburgh and to a lesser degree at other universities and trying to expand the curriculum to include what was then called, mostly because of Tom Wolfe, “new journalism.”

I find that many of my students today aren’t very familiar with the New Journalists—Wolfe, Gay Talese, Gail Sheehy, Jimmy Breslin, Barbara Goldsmith, and Jane Kramer, among others—and it’s probably also true that some of the work from that time hasn’t aged terribly well. Sure, sometimes some of these writers went a little overboard, like Tom Wolfe, for example, interrupting his sentences with varoom-varooms and other stylistic flourishes. He was being playful and maybe a bit silly and arrogant, or it might seem so today, but he was also trying to loosen things up, to not be as predictable and sometimes downright boring as journalists then could be, and in that regard, he was quite successful.

You have to realize that the New Journalists were doing some very exciting stuff, seemingly groundbreaking. They were writing in scenes, recreating dialogue, manipulating timelines, and including themselves—their voices and ideas—in the stories they were writing. Stuff we pretty much take for granted now, but back then, with journalists especially hampered and handcuffed by rules and guidelines, so liberating.

Remember this was all happening in the late 1960s and early 1970s, when rule breaking, change, and defying the establishment were in the air everywhere, and the idea of the “new” in journalism captured the tone and spirit of the times. But I am not just talking here about journalism. Other writers, recognized for their literary achievements, were also taking chances, pushing boundaries. Truman Capote’s In Cold Blood , his “nonfiction novel,” stunned and obsessed the literary world when it was published first in the New Yorker in 1965 and then, the following year, as a book. In 1969, another novelist, Norman Mailer, was awarded both the Pulitzer Prize for general nonfiction and the National Book Award for Arts and Letters for The Armies of the Night , about the Washington, DC, peace demonstrations . Mailer was awarded a second Pulitzer in 1980 for his intense, thousand-plus-page deep-dive into murder, obsession, and punishment, The Executioner’s Song , which became a centerpiece of a national conversation about the death penalty. Mailer’s award for his self-described “true-life novel” was for fiction, but all three books, if published today, would be considered creative nonfiction.

I couldn’t see why this kind of work—which was as exciting to students as it was to me—didn’t belong in the classroom. In an English department. Not just as a one-off work, to be taught once in a while, but as part of the curriculum. Why wasn’t there a category for writing that wasn’t poetry or fiction or essay or journalism but that could bring the various literary and journalistic techniques used in all of those forms together into one unique work of art and craft? Why didn’t this amalgam of literary and journalistic richness belong . . . somewhere?

Thinking back, I didn’t really belong either. I had pushed my way into the English department first as a part-time lecturer and then as tenure-track faculty by campaigning for this new or different way of writing nonfiction. And to be honest, I think I began to succeed, to make inroads, because, for one thing, most faculty at the time did not want to teach this stuff—nonfiction—especially if it was called or related to journalism. It’s also true I was a bit of an interloper—I was a published author in what might be described as a more commercial vein (books about motorcycles, baseball, backwoods America, targeted to general audiences), a rarity in English departments. And worse, I was a lowly BA. No advanced degrees.

But in many ways, I was also fortunate; during this time, with student protests confronting the old guard on campuses, I got by as a token of change, tolerated but not yet completely accepted. I felt like a misbehaving adolescent, rough around the edges and not yet ready to grow up, learn the rules, and pay my dues. I didn’t even know how to pay my dues. There were few options. Creative-writing programs, ubiquitous today, were rare and in many ways faced resistance in English departments.

Of course, part of the resistance to creative-writing courses, generally, was just the kind of turf defending that goes on in any academic department, where resources can be unfortunately scarce. Giving a tenure slot to a novelist or a poet, after all, can mean losing a tenure slot and resources for research and travel for a literature PhD.

But I think the resistance to creative nonfiction as being part of creative writing went even deeper and had something to do with how we define literature. I remember one particularly contentious debate back in the early 1970s, after one of my students had made a presentation arguing for an entire course devoted to new journalism. (I’d been incorporating pieces into my classes, but there was no entire course devoted to the stuff.) One of the English professors slammed a pile of books—classics—down on the table; his argument, I think, was that my student should have to prove he’d read those works before he was remotely qualified to weigh in on the curriculum. Anyway, perhaps predictably, it turned into a heated debate about which particular works were classics, a debate the department chair ended by observing, “After all, gentlemen, we are interested in literature here—not writing .”

(Were there women in the room? Of course there were.)

Now, what was going on here? Why didn’t these professors think of this writing as literary? And I mean not just contemporary works like In Cold Blood but the work that came before it, too—the nonfiction written by H. L. Mencken and Mark Twain, James Baldwin and Jack London, not to forget the father of English journalism, Daniel Defoe. And what about pioneering narrative journalists like Nellie Bly and Ida Tarbell? I guess I have a few theories.

First, the lack of a unifying name—what to call it—was definitely a complicating factor. “New journalism” wasn’t great because (the argument went, in English departments, at least) journalism was a trade, not a literary pursuit. There were other names floated—“the literature of fact,” “literary nonfiction,” “belles lettres” (which is what the National Endowment for the Arts was using at that time). But using the word “literary” to describe contemporary writing, meaning that a person would have to say “I write literary nonfiction” … well, that felt sort of presumptuous, didn’t it? “Creative” sort of had the same problem; who was to say what that meant, and it also sort of implied that other kinds of writing weren’t creative, and that didn’t feel good, especially to the scholars. And to the journalists, “creative” sounded like it meant you were making stuff up. As for “belles lettres,” well . . . it just sounded pretentious.

Even more than that, I think there was something about the writing itself—and the writers—that felt threatening. Not just because of the rule breaking. So much of this new nonfiction was about real people and events and was often quite revelatory. We were really a no-holds-barred crew. Wherever there was a story we were there, boots on the ground, bringing it to life—and often revealing the darkest side of things, of war, of poverty, of inherent societal racism. And revealing our own foibles and flaws along the way. And it wasn’t just Mailer and Capote and Baldwin who were writing this stuff, but real people capturing their own lives and struggles in dramatic detail. The “new” whatever you wanted to call it was truly an awakening.

Students, undergrads mostly, at first, especially recognized and were energized by the appeal. Suddenly the doors were open to other options far more interesting than the inverted pyramid or the five-paragraph essay, and considering these new possibilities for what to write about and, more important, how to write their stories was liberating, challenging, and downright enjoyable. Student interest and subsequent demand invariably led to more courses, and more courses led to more writers and scholars who would agree to teaching what had once seemed so controversial.

I should also point out that as the dialogue and debate about nonfiction began to grow, in the 1980s and early 1990s, I was traveling widely. I got invitations from not just universities, but also book clubs and local conferences, from Wyoming to Birmingham to Boston, and met not only with students but also with many of these “real” people who wanted to write. Some were professionals—doctors, teachers, scientists—but there were also firefighters, ambulance drivers, and what we then called homemakers, all with stories to write. They, too, saw the appeal of this nonfiction form that let you tell stories and incorporate your experiences along with other information and ideas and personal opinions.

These folks cared much less than the academics did about what it was called. But—after the dust had settled to a certain extent in academia; after the English department at Pitt had agreed, first, to a course called “The New Nonfiction” and then, nearly two decades later, to a whole master’s program concentrating on creative nonfiction writing (the first in the country, I believe), which later became an MFA program; and after the NEA, in 1989 or so, also adopted the term “creative nonfiction,” a tipping point for sure—well, it mattered tremendously to those folks that it had a name, this kind of writing they wanted to do. It brought a validation to their work, to know that there was a place or a category where their work belonged. The writing itself wasn’t necessarily anything new—people had been doing it forever, if you knew where to look for it—but now people were paying attention to it, and they had something to call it.

And then, a little later, when this journal (now, this magazine) started publishing, in 1993, that added another form of legitimacy. And, in fact, work from many of those writers I met during those years on the road was published in the first few issues of Creative Nonfiction . In the early issues of the journal, we attracted all kinds of writers who were, perhaps, tired of being locked in or limited. We published journalists and essayists and poets, all of them exploring and reaching.

All of this did not happen overnight. English departments did not jump right in and embrace nonfiction; it was, as I have said, a much more gradual and often reluctant acceptance, but clearly an inevitable—and eventually gracious—one, maybe mostly for practical reasons. Creative writing programs were becoming quite profitable, especially at a time when literature and liberal arts majors were waning. Adding nonfiction brought in an entirely new breed of students, not just literary types, but those interested in science and economics or those students who were just interested in finding a job after graduation. Learning to write true stories in a compelling way could only enhance future opportunities.

It may well be that English departments resisted change for various reasons at the beginning, but they also opened the doors and provided a place—a destination—for all of us creative nonfictionists to come together, dialogue and share our work, and earn a certain legitimacy that had been denied to us at the very beginning. I had no idea at the time I started teaching that creative nonfiction would become such a mainstay, not just in the academy, but as a force and influence in literature and in publishing. That was not my intent, and I was certainly not the only “warrior” who took up the fight. But I don’t think this fight could have taken place anywhere else but in the academy, where intellectual discourse and opportunities for new ideas can so richly flourish and be recognized. I have no idea whether an outsider like me, beating the bushes for support of a genre or an idea that did not seem to exist, could survive in an English department or anywhere else in the academy today; the atmosphere, the politics, the financial pressures, the tone of the times is so very different.

Even then, it was very much a minor miracle that I, uncredentialled and tainted, as some thought, by commercialism, was accorded such an opportunity. And that all of my campaigning and annoying persistence were tolerated. It would have been easy to eliminate me. But as much of an interloper as I was, I was rarely shut down; I could always speak my mind. And even though many of my colleagues were pretty damn unhappy about the new journalism and, later, creative nonfiction, they eventually came to recognize the popularity and potential of this new genre and, I think, to respect and appreciate the dedication and excitement displayed by our nonfiction students.

As the program grew and other universities followed suit, we outliers not only began to fit in, but also began to thrive. We added depth and substance not just to writing programs, but to the entire department. And as our students published, won awards, became popular teachers in their own right, we added more than a little bit of prestige.

What happened at Pitt and later at other English departments isn’t so very different than what happened as our genre evolved. Fifty years ago, we were hardly a blip on the radar, an add-on or an afterthought, a necessary annoyance at best. Today, we are not just a part of the literary ecosystem, we are its most active and impactful contributors—leaders and change makers and motivators where we once did not belong.

__________________________________

This essay originally appeared in Issue #76 of  Creative Nonfiction under the title “ I’d Like to Thank the Academy .”

Lee Gutkind

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Fiction vs. Nonfiction: Literature Types (Compared)

• by Team Experts
• July 2, 2023 July 3, 2023

Discover the surprising differences between fiction and nonfiction literature types in this eye-opening comparison.

In conclusion, literature types are an essential aspect of written works that help readers understand the content, style, and purpose of a particular piece. Fiction and nonfiction are two major literature types that differ in their narrative style and content. Fiction includes imaginary stories and creative writing, while nonfiction includes fact-based writing and informational texts. Understanding these literature types and their differences can help readers choose the right book for their needs.

What are the Different Literary Types?

Narrative style in fiction and nonfiction writing, real-life events in nonfiction vs creative writing in fiction, informational texts: understanding their role in literature, common mistakes and misconceptions.

Overall, understanding the differences in narrative style between fiction and nonfiction writing is crucial for effective storytelling . While some elements may overlap, such as plot structure and conflict, the use of characterization, dialogue, imagery, tone, mood, setting, theme, foreshadowing, flashback, symbolism, irony, and climax differ greatly between the two styles . It is important to consider these elements when choosing a narrative style and to use them effectively to engage and captivate the reader.

Overall, the key difference between real-life events in nonfiction and creative writing in fiction is the purpose of the writing and the level of fictionalization. Nonfiction aims to inform and educate readers about real-life events, while fiction aims to entertain and engage readers through creative writing. Nonfiction requires accurate and reliable information about real-life events, while fiction requires creative ideas and imaginative storytelling. Nonfiction should be based on real-life events and should not be overly fictionalized, while fiction can be completely made up or based on real-life events with varying degrees of fictionalization. Both nonfiction and fiction require editing and revision to improve the clarity, coherence, and effectiveness of the writing.

Overall, understanding the role of informational texts in literature can provide readers with valuable knowledge and insights on various topics. However, it is important to approach these texts with a critical eye and consider the potential risks of biased or false information. By analyzing the purpose, type, structure, credibility , audience, and impact of informational texts, readers can gain a deeper understanding of the world around them.

• 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

ALAN v41n1 - Tell Me a (Real) Story: The Demand for Literary Nonfiction

The library connection, tell me a (real) story: the demand for literary nonfiction.

One can hardly pick up a professional journal these days without reading about nonfiction, particularly as it relates to the Common Core State Standards (CCSS). The demand for the integration of nonfiction into classrooms is made abundantly clear:

This call for “literary nonfiction” has led to much confusion and debate. What is literary nonfiction and how does it differ from nonfiction in general? How does literary nonfiction support the goal of CCSS? What is the value of literary nonfiction? What resources are present to assist educators in locating and using quality literary nonfiction with students? These key questions need answers from those who know and understand nonfiction and its applications in the ELA classroom. Much professional sional development is being offered that ignores these key questions. The purpose of this article is to attempt to provide answers. Before teachers move forward with model frameworks and other curricular decisions, it is essential that a clear understanding of literary nonfiction is paramount.

Toward a Cohesive Definition

The term nonfiction is, basically, a definition of a genre by contradiction or negation. A search using the term literary nonfiction yields the following definitions:

• Nonfiction that reads like fiction and includes elements of fiction (plot, characters, conflict, etc.).
• A branch of writing that employs literary techniques usually associated with poetry to report on actual facts.
• Literary nonfiction is also called narrative nonfiction and creative nonfiction. It includes travel writing, essays, autobiography, memoir, biography, sports writing, science writing, and nature writing.
• Literary nonfiction is when an author uses facts and research to create a story with no “made-up parts.”
• Literary nonfiction is dramatic true stories that can explore a variety of subjects.
• Nonfiction is biography, autobiography, memoir, and informational texts.

However, a search of the standard textbooks in the field of literature for children and young adults yields different results. Through the Eyes of a Child ( Norton, 2010 ), Children’s Literature Briefly ( Tunnell, Jacobs, Young, & Bryan, 2011 ) and the classic Literature for Today’s Young Adults ( Nilsen, Blasingame, Nilsen, & Donelson, 2012 ) offer definitions of nonfiction more along the lines of the following:

• Informational books (nonfiction) present knowledge that is accurate and verifiable.
• Nonfiction includes biography, autobiography, and informational texts.
• Nonfiction is based on fact and not imagination.
• Facts and information about nonfiction are uppermost with storytelling used as an expressive technique.

To add to the confusion is the fact that the CCSS documents ( National Governors Association & Council of Chief State School Officers, 2010 ) also offer conflicting views of nonfiction. CCSS make a distinction between nonfiction and what they term informational texts , including literary nonfiction, and offer the types of these texts within the K–5 and the 6–12 Reading Standards’ discussion (pp. 5, 10, 35, 31, 37). It is quite difficult to determine the distinctions among these terms since they are used in a rather haphazard and inconsistent fashion. However, the CCSS does delineate some specific kinds of nonfiction for use in the classroom. Included for K–5 are these types of informational texts:

• autobiography
• books about history, science, and the arts
• technical texts
• digital sources (p. 31)

The informational text types for grades 6–12 include:

• personal essays
• opinion pieces
• biographies
• historic/scientific/technical/economic texts
• digital sources (p. 57)

Autobiographies, then, are appropriate for K–5, but the Standards list memoirs for grades 6–12. Technical texts are delineated for younger readers but not for young adults. Vague descriptions (journalism, historic texts) are listed with little or no elaboration. Given that forms, formats, and genres are shifting and evolving constantly, perhaps this is not as surprising as it appears on the surface. Lines are blurring between and among genres; definitions of what is a text are also changing with the advent of more electronic forms and formats. Even the design of nonfiction demonstrates the evolution of the genre.

What is needed is a consensus among educational stakeholders (teachers, librarians, administrators, parents, curriculum writers, etc.) about the term literary nonfiction and what will qualify as such as new curricula demand its use in larger percentages. (As much as 70% of reading across high school grade levels should be literary nonfiction, according to CCSS.) Moreover, the idea that there might exist a “non-literary” or “non-creative” nonfiction is disturbing. The term that seems to make most sense here is narrative nonfiction —nonfiction that tells a story. This term combines the emphasis on fact and information as well as on story. It includes those types of books already being mentioned in much of the CCSS literature: autobiography, biography, informational texts, and memoir (though a discussion about the artificial distinction between autobiography and memoir needs some closer examination as well). It also includes the element of story rather than the more amorphous concept of being literary or creative. Narrative nonfiction is informational and it is literary. Perhaps educators would be well served to establish a terminology that is consistent.

The Value of Nonfiction

There has been a great deal of consternation expressed about the demands for more nonfiction within the CCSS. I understand this concern because I know that the background I brought to my ELA classes in the late 1970s is not very different from the background educators are bringing with them in the 21st century. As an English major, I had countless courses that included the reading and discussion of the classics. Most of those classics were fiction, however. Few, if any, of my college courses included nonfiction. There was an occasional essay, of course, but the focus was squarely on fiction. So, as I was developing my classroom library, booktalking to students, and reading to stay abreast of YA books, I seldom turned to nonfiction. Today, however, I am quite likely to turn to nonfiction for pleasure reading, to include nonfiction among the required reading for my YA class, and to include nonfiction as I present staff development. What changed over the years?

The first change occurred early in my teaching career as I watched kids gravitate toward certain books when we visited the school library. See if this scenario sounds familiar: at one table is a group of students chatting and laughing and pointing as they turn the pages of The Guinness Book of World Records . At another table, kids have taken out paper and pencils and are trying to replicate drawings in one of Lee J. Ames’s Draw 50 books . A couple of girls are checking out the latest biography of a pop idol (in my time, it was New Kids on the Block and Vanilla Ice), while a handful are scanning the shelf of sports biographies looking for one they might have missed. I usually headed right to the fiction stacks, but not all of my students did the same. Obviously, there was interest in books other than fiction.

The real jolt happened when I asked one of my students why he self-defined as a nonreader on a survey I had conducted with the class. I saw him reading during silent reading time. He carried books with him. He checked books out of the library. Surely these were the behaviors of a reader, right? Basically, his response was that the reading he did was not the same type of reading he saw in most of his ELA classes. Reading biographies of basketball stars or reading drawing books or browsing the Guinness Book of World Records ( Glenday, 2009 ) was not deemed reading by his previous teachers, so he began to define himself as a nonreader. I wondered then (and still do) how many students we lose because our working definition of reading is too narrow or limited?

Reading nonfiction fits easily into the different stages in the development of lifelong readers. For unconscious delight, the reading of serial nonfiction allows readers to become “lost in a book,” enjoying that time when the real world slips away as we are reading. For some, this means specializing in a particular series of informational books, such as Greatest Stars of the NBA ( Finkel, 2004 ). This series combines the narrative techniques of biography with the format of graphic novels and manga. Here is informational text that blurs genre boundaries, that combines forms and formats. Serial reading could also mean reading the works of some of the leading authors of biographies and autobiographies, such as Russell Freedman, or reading the narrative nonfiction of Susan Campbell Bartoletti, Steve Sheinkin, or Sue Macy. It might take the form of students seeking out books about historical periods of interest to them, perhaps moving from Freedom’s Children ( Levine, 1993 ) to Claudette Colvin: Twice toward Justice ( Hoose, 2009 ) to Dionne Graham’s audio narration of Martin Luther King Jr. ’s Letters from Birmingham Jail (2013).

If students prefer to read for vicarious experiences, another stage in the development of lifelong readers, there are many subjects and topics to peruse. Instead of simply reading The Diary of Anne Frank ( Frank, Frank, Pressler, & Massotty, 1995 ), we might offer the graphic novel biography authorized by the Anne Frank House ( Jacobson and Colon, 2010 ), which might lead to the rendition of the 911 report by these same graphic novelists. Then one might move on to other works set during the Holocaust, including Hitler Youth ( Bartoletti, 2005 ), Surviving the Angel of Death ( Kor & Buccieri, 2009 ), and I Have Lived a Thousand Years ( Jackson, 1997 ).

Reading autobiographically might lead a student to read books about topics that touch on their own lives. Books about health and beauty—like Lauren Conrad Beauty ( Conrad & Loehnen, 2012 ), Seventeen 500 Health & Fitness Tips: Eat Right, Work Out Smart, and Look Great! ( Foye, 2011 )—or books about college and career like Seventeen’s Guide to Getting into College: Know Yourself, Know Your Schools, & Find Your Perfect Fit! ( Fenderson, 2008 ) or books about careers, culture, compromise, and a myriad of other topics.

Certainly there is nonfiction that also causes readers to grapple with more philosophical issues, another important stage of reader development. Books about racism and prejudice, about war, poverty, population growth, climate change, the environment, pollution, and other topics can assist readers in not only finding the facts and figures for a report, but also informing them about choices they must make as consumers and human beings.

I already had evidence that my own students were reading for aesthetic experiences, the final stage in the development of lifelong readers. There was obviously value in reading nonfiction. The question for me was, how do I fill in my own reading gaps and develop my collection to include more nonfiction? Though this was a question I considered decades ago, it is still a viable and essential question for teachers entering classrooms today under the CCSS demand for increasing exposure to nonfiction.

Resources for Locating Narrative Nonfiction for Students

Of course, given the emphasis on CCSS means educators are scrambling to locate exemplary narrative nonfiction so that they can develop model frameworks, write curriculum to address the Anchor Standards, and supplement their own reading to include more narrative nonfiction. CCSS provides what they call Exemplar Texts—suggestions for texts to be used in building new lessons. They do point out, however disingenuously, that these are not the only texts that could be used. That is a relief since they list only five (!) texts for middle school grades. Churchill, Frederick Douglas, John Adams, and John Steinbeck get nods at this level, along with Ann Petry ’s bio of Harriet Tubman (2007). For high school, the list includes Washington, Lincoln, Paine, FDR, Patrick Henry, and Ronald Reagan, along with a very few authors who are not white: Angelou, Anaya, and Tan. Given this paucity of resources, where can teachers turn for more narrative nonfiction?

My first answer is this: turn to your school librarians. They have much to offer. Their books are free of charge, too. Talk to the school librarian about books for topics and subjects you plan to use within your curriculum. Certified school librarians know the collection and can assist teachers in all subject matters by locating resources, books, and other materials. Here are some other resources that should prove valuable:

• Excellence in Nonfiction Award from the Young Adult Library Services of the American Library Association (YALSA). Presented in 2010 for the first time, this award recognizes distinction in nonfiction for YA readers. Winners may be located here: http://www.ala.org/yalsa/ booklistsawards/bookawards/ nonfiction/previous .
• The Sibert Award for Nonfiction from the Association of Library Services to Children (ALSC). First presented in 2001, this award is for distinction in nonfiction for children. However, since the age range for these books extends to age 14, there are plenty of good YA nonfiction titles from which to select. The list of winners, past and present, may be found here: http:// www.ala.org/alsc/awardsgrants/ bookmedia/sibertmedal/sibert past/sibertmedalpast .
• One of the oldest awards for nonfiction, the Orbis Pictus Award from the National Council of Teachers of English (NCTE) has been awarded since
• The award includes one winning title, a handful of honor books, and a list of recommended titles as well. Current winners and links to winning titles from the past are located here: http://www.ncte.org/awards/ orbispictus .
• Children’s Book Council (CBC). Since 1972, the CBC and content area professional organizations have produced two lists: Notable Books in the Social Studies and Notable Outstanding Science Trade Books. You can link to past lists here for social studies: http://www.socialstudies.org/ notable. Links for science are here: http://www.cbcbooks .org/readinglists. php?page=outstandingscience .
• Reviewing journals such as VOYA, SLJ, Booklist, and The Horn Book review nonfiction regularly. Lists of those books receiving starred reviews are generally a good place to begin.

Become a nonfiction detective. If you are not already part of a PLN, begin to build one using Twitter, Tumblr, and blogs. See what books are getting the “buzz.” Right now, my favorite new piece of nonfiction is called Bad for You ( Pyle, 2013 ), a book that seamlessly blends nonfiction in the graphic novel format. Chapters discuss things that others believe are bad for teens, including play, comics, and video games. Members of my PLN are suggesting titles such as the Scientists in the Field series and the Discover More series. Individual titles include Temple Grandin ( Montgomery, 2012 ), Invincible Microbe ( Murphy & Blank, 2012 ), and Impossible Rescue ( Sandler, 2012 ). Look inside your classroom as well.

Lurk and watch. See what narrative nonfiction appeals to readers in your classroom. Are they reading memoirs? Why? Or why not? Do certain topics and subjects appeal across age and gender and other factors? What are they? If CCSS remain as the dictate for many states, we need to assess where our readers are in terms of reading nonfiction and plan how we will introduce them to other types of narrative nonfiction in a way that motivates them to read for more than just a test.

Finally, a Challenge for Us All

The emphasis on nonfiction or reading of informational texts should be one I welcome. But I do have some concerns. David Coleman, one of the key “architects” for the new Standards, points to the need for nonfiction so that students will be more prepared for college and career; thus the push for nonfiction within CCSS. He insists that readers gain “world knowledge” through nonfiction, a knowledge that is absent from fiction. The CCSS call for increasing emphasis on informational texts, about a 70–30 ratio in high school. This de-valuing and de-emphasis on fiction might also result in the loss of readers.

If we are not to be restricted to the rather confining nature of the CCSS Exemplar Texts, we need to challenge ourselves to read more and to read more widely. I generally begin with the award winners, if they are books I have not already read. Here are five of the most recent award recipients for you to browse (and even better, read). Bomb: The Race to Build–and Steal–the World’s Most Dangerous Weapon by Steve Sheinkin (2012) , the winner of the Excellence in Nonfiction Award from YALSA, the Sibert Award from ALSC, and a Newbery Honor winner, is a powerful story that has, at its heart, spies and intrigue and political maneuverings. Given all the accolades, this might just be the perfect place to begin reading and discovering the wonderful world of narrative nonfiction available for today’s educators and students. We’ve Got a Job: The 1963 Birmingham Children’s March (2012) by Cynthia Levinson was also recognized with multiple awards. No Crystal Stair: A Documentary Novel of the Life and Work of Lewis Michaux, Harlem Bookseller (2012) by Vaunda Micheaux Nelson combines fact and story in a documentary novel format. Titanic: Voices from the Disaster (2012), written by Deborah Hopkinson , and Moonbird: A Year on the Wind with the Great Survivor B95 (2012), written by Phillip Hoose , received both the Sibert and the Excellence in Nonfiction Award this year. Challenge yourself and your colleagues to “mind the gap” and read more narrative nonfiction to share with your classes.

Teri S. Lesesne is a professor in the department of Library Science at Sam Houston State University in Texas. Former president of ALAN, Teri now serves as its Executive Director. She can be followed on Twitter (@ProfessorNana).

National Governors Association & Council of Chief State School Officers. (2010). Common Core State Standards for English language arts and literacy in history/ social studies, science, and technical subjects. Washington, DC. Retrieved from http://www.corestandards.org .

Nilsen, A. P., Blasingame, J., Nilsen, D., & Donelson, K. L. (2012). Literature for today’s young adults . Upper Saddle River, NJ: Pearson.

Norton, D. E. (2010). Through the eyes of a child . Upper Saddle River, NJ: Pearson.

Tunnell, M. O., Jacobs, J. S., Young, T. A., & Bryan, G. (2011). Children’s literature briefly (5th ed.). Upper Saddle River, NJ: Pearson.

Trade Book References

Ames, L. J. (1977). Draw 50 vehicles: Selections from Draw 50 boats, ships, trucks, and trains, and Draw 50 airplanes, aircraft, and spacecraft. Garden City, NY: Doubleday.

Bartoletti, S. C. (2005). Hitler Youth: Growing up in Hitler’s shadow . New York, NY: Scholastic Nonfiction.

Conrad, L., & Loehnen, E. (2012). Lauren Conrad beauty . New York, NY: Harper.

Fenderson, J. J. (2008). Seventeen’s guide to getting into college . New York, NY: Hearst Books.

Finkel, J. (2004). Greatest stars of the NBA: Shaquille O’Neal . Hamburg, Germany: Tokyopop.

Foye, M. (2011). Seventeen 500 Health & Fitness Tips: Eat Right, Work Out Smart, and Look Great! New York, NY: Hearst Books.

Frank, A., Frank, O., Pressler, M., & Massotty, S. (1995). The diary of a young girl: The definitive edition . New York, NY: Doubleday.

Glenday, C. (2009). Guinness world records 2010 . London, England: Guinness World Records.

Hoose, P. M. (2009). Claudette Colvin: Twice toward justice . New York, NY: Melanie Kroupa Books/Farrar, Straus & Giroux.

Hoose, P. M. (2012). Moonbird: A year on the wind with the great survivor B95 . New York, NY: Farrar, Straus & Giroux.

Hopkinson, D. (2012). Titanic: Voices from the disaster . New York, NY: Scholastic Press.

Jackson, L. B. (1997). I have lived a thousand years: Growing up in the Holocaust . New York, NY: Simon & Schuster Books for Young Readers.

Jacobson, S., & Colon, E. (2010). Anne Frank: The Anne Frank authorized graphic biography. New York, NY: Hill and Wang.

King, M. L. (2013). Letter from Birmingham jail [audio recording] (D. Graham, narrator). Solon, OH: Findaway World.

Kor, E. M., & Buccieri, L. (2009). Surviving the angel of death: The story of a Mengele twin in Auschwitz . Terre Haute, IN: Tanglewood.

Levine, E. (1993). Freedom’s children: Young civil rights activists tell their own stories . New York, NY: Putnam.

Levinson, C. (2012). We’ve got a job: The 1963 Birmingham children’s march . Atlanta, GA: Peachtree Publishers.

Montgomery, S. (2012). Temple Grandin: How the girl who loved cows embraced autism and changed the world . New York, NY: Houghton Mifflin.

Murphy, J., & Blank, A. (2012). Invincible microbe: Tuberculosis and the neverending search for a cure . Boston, MA: Clarion Books.

Nelson, V. M. (2012). No crystal stair: A documentary novel of the life and work of Lewis Michaux, Harlem bookseller (R. G. Christie, Illus.). Minneapolis, MN: Carolrhoda Lab.

Petry, A. (2007). Harriet Tubman: Conductor on the underground railroad . New York, NY: Amistad.

Pyle, K. (2013). Bad for you . New York, NY: Henry Holt.

Sandler, M. W. (2012). The impossible rescue: The true story of an amazing Arctic adventure . Somerville, MA: Candlewick Press.

Sheinkin, S. (2012). Bomb: The race to build and steal the world’s most dangerous weapon . New York, NY: Roaring Brook Press.

2014 Call for CEL Award for Exemplary Leadership

Please nominate an exceptional leader who has had an impact on the profession through one or more of the following: 1) work that has focused on exceptional teaching and/or leadership practices (e.g., building an effective department, grade level, or building team; developing curricula or processes for practicing English language arts educators; or mentoring); 2) contributions to the profession through involvement at both the local and national levels; 3) publications that have had a major impact. This award is given annually to an NCTE member who is an outstanding English language arts educator and leader. Your award nominee submission must include a nomination letter, the nominee’s curriculum vita, and no more than three additional letters of support from various colleagues. Send by February 1, 2014 , to: Rebecca Sipe, 8140 Huron River Drive, Dexter, MI 48130. Or email submission to [email protected] (Subject: CEL Exemplary Leader).

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Elon Musk Hardcover – September 12, 2023

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• Print length 688 pages
• Language English
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• Publication date September 12, 2023
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• Publisher ‏ : ‎ Simon & Schuster (September 12, 2023)
• Language ‏ : ‎ English
• Hardcover ‏ : ‎ 688 pages
• ISBN-10 ‏ : ‎ 1982181281
• ISBN-13 ‏ : ‎ 978-1982181284
• Item Weight ‏ : ‎ 1.78 pounds
• Dimensions ‏ : ‎ 6.13 x 1.9 x 9.25 inches
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Walter Isaacson is writing a biography of Elon Musk. He is the author of The Code Breaker: Jennifer Doudna, Gene Editing, and the Future of the Human Race; Leonardo da Vinci; Steve Jobs; Einstein: His Life and Universe; Benjamin Franklin: An American Life; The Innovators: How a Group of Hackers, Geniuses, and Geeks Created the Digital Revolution; and Kissinger: A Biography. He is also the coauthor of The Wise Men: Six Friends and the World They Made. He is a Professor of History at Tulane, has been CEO of the Aspen Institute, chairman of CNN, and editor of Time magazine.

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