Self-portrayal has become an integral part of modern culture and India equally shares this universal mood. A large number of Indians have committed themselves to the writing of their autobiographies in English as well as in the regional languages. It is exciting to know that those in English have been produced by some of the finest minds of the country, such as Raja Rammohun Roy, Lal Behari Day, Surendra Nath Banerjea, Bipin Chandra Pal, Lala Lajpat Rai, Mahatma Gandhi, Rabindranath Tagore, Jawaharlal Nehru, Subhash Chandra Bose, P.C. Roy, S. Radhakrishnan, Sachchidanand Sinha and Nirad C. Chaudhury. It is highly fascinating to read their testimony in the shaping of modern Indian history. Even more exciting are the glimpses into their private lives and the interrelation between the portrait and the man. This study is the first comprehensive attempt to critically evaluate these works and shows how in modern times Indians begin to get over the proverbial Indian inhibition in talking of private affairs hesitatingly first and then with a devastating even embarrassing frankness. This study, in passing also tries to dispel the impression that no autobiographical tradition existed in ancient and medieval India.

Originally published in 1960. Is there an art of autobiography? What are its origins and how has it come to acquire the form we know today? For what does the autobiographer seek, and why should it be so popular? This study suggests some of the answers to these questions. It takes the view that autobiography is one of the dominant and characteristic forms of literary self-expression and deserves examination for its own sake. This book outlines a definition of the form and traces its historical origins and development, analyses its ‘truth’ and talks about what sort of self-knowledge it investigates.

Writing autobiography is a risky business. What is shameful can be inadvertently rather than deliberately revealed. Yet reading autobiography can also be risky, as it may lead to the confrontation of shame in ourselves. Perhaps it is this element of risk, together with the magnetism of another person's confession of shameful experience, that make us such avid readers of autobiography. Rosamund Dalziell proposes that shame is the driving force in many Australian autobiographies. Indeed, she suggests that the representation of shame is fundamental to the autobiographical process. Shame seeks concealment-and this, she argues, explains both why this fascinating link has not before been explored and why, when it is pointed out, we immediately know it to be authentic. Shameful Autobiographies looks at pervasive patterns of shame in the autobiographies of such leading Australian writers as Germaine Greer, Sally Morgan, Bernard Smith, Kathleen Fitzpatrick, Morris Lurie, Ruby Langford Ginibi and Robert Dessaix. In so doing it establishes the centrality of shame to problems of Australian identity and to current political debate-for instance, it is shame that fuels angry repudiations of the so-called 'black armband' view of history. The calm clarity of Rosamund Dalziell's writing strengthens her powerful insights and arguments, the most potent of which is that autobiographical confrontion with shame can heal deep wounds, both for writers and for readers. This mature and innovative book will enrich the experience of all readers of autobiography.

This book by one of Latin America’s leading cultural theorists examines the place of the subject and the role of biographical and autobiographical genres in contemporary culture. Arfuch argues that the on-going proliferation of private and intimate stories – what she calls the ‘biographical space’ – can be seen as symptomatic of the impersonalizing dynamics of contemporary times. Autobiographical genres, however, harbour an intersubjective dimension. The ‘I’ who speaks wants to be heard by another, and the other who listens discovers in autobiography possible points of identification. Autobiographical genres, including those that border on fiction, therefore become spaces in which the singularity of experience opens onto the collective and its historicity in ways that allow us to reflect on the ethical, political, and aesthetic dimensions not only of self-representation but also of life itself. Opening up debate through juxtaposition and dialogue, Arfuch’s own poetic writing moves freely from the Holocaust to Argentina’s last dictatorship and its traumatic memories, and then to the troubled borderlands between Mexico and the United States to show how artists rescue shards of memory that would otherwise be relegated to the dustbin of history. In so doing, she makes us see not only how challenging it is to represent past traumas and violence but also how vitally necessary it is to do so as a political strategy for combating the tides of forgetting and for finding ways of being in common.

Taking a fresh look at the state of autobiography as a genre, The Phenomenology of Autobiography: Making it Real takes a deep dive into the experience of the reader. Dr. Schmitt argues that current trends in the field of life writing have taken the focus away from the text and the initial purpose of autobiography as a means for the author to communicate with a reader and narrate an experience. The study puts autobiography back into a communicational context, and putting forth the notion that one of the reasons why life writing can so often be aesthetically unsatisfactory, or difficult to distinguish from novels, is because it should not be considered as a literary genre, but as a modality with radically different rules and means of evaluation. In other words, not only is autobiography radically different from fiction due to its referentiality, but, first and foremost, it should be read differently.

Franklin's Autobiography has received widespread praise, both for its historical value as a record of an important early American and for its literary style. This work has become one of the most famous and influential examples of an autobiography ever written. This title is based on the Harvard Classics edition.

"I've struck it!" Mark Twain wrote in a 1904 letter to a friend. "And I will give it away—to you. You will never know how much enjoyment you have lost until you get to dictating your autobiography." Thus, after dozens of false starts and hundreds of pages, Twain embarked on his "Final (and Right) Plan" for telling the story of his life. His innovative notion—to "talk only about the thing which interests you for the moment"—meant that his thoughts could range freely. The strict instruction that many of these texts remain unpublished for 100 years meant that when they came out, he would be "dead, and unaware, and indifferent," and that he was therefore free to speak his "whole frank mind." The year 2010 marks the 100th anniversary of Twain's death. In celebration of this important milestone and in honor of the cherished tradition of publishing Mark Twain's works, UC Press is proud to offer for the first time Mark Twain's uncensored autobiography in its entirety and exactly as he left it. This major literary event brings to readers, admirers, and scholars the first of three volumes and presents Mark Twain's authentic and unsuppressed voice, brimming with humor, ideas, and opinions, and speaking clearly from the grave as he intended. Editors: Harriet E. Smith, Benjamin Griffin, Victor Fischer, Michael B. Frank, Sharon K. Goetz, Leslie Myrick