definition of biography genre

Biography Genre Definition – Complete List of Book Genres

by Mark Malatesta | Jun 26, 2018 | Book Genres Nonfiction

Home » Book Genres Nonfiction » Biography Genre Definition – Complete List of Book Genres

Biography Genre Definition –  What’s the best definition for the biography genre? A biography is an account of a person’s life written by someone else. Biographies are true stories about real people. They are set within a real historical framework with the unique social and political conditions that existed during the subject’s life. Biographies can be about people who are alive or dead. Most often they’re about someone who was significant (popular (or unpopular) politicians and/or celebrities).

Scroll below now to see 25 biography nonfiction genre examples, or click here to see all nonfiction genres .

Biography Genre Definition – Examples

Review this list of popular examples to help you get a better understanding of the biography nonfiction genre.

1. 1776 by David McCullough

2. Alexander Hamilton by Ron Chernow

3. Bonhoeffer: Pastor, Martyr, Prophet, Spy by Eric Metaxas

4. Catherine the Great: Portrait of a Woman by Robert K. Massie

5. Destiny of the Republic: A Tale of Madness, Medicine and the Murder of a President by Candice Millard

6. Einstein: His Life and Universe by Walter Isaacson

7. Frida: A Biography of Frida Kahlo by Hayden Herrera

8. Into the Wild by Jon Krakauer

9. John Adams by David McCullough

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

11. Nicholas and Alexandra by Robert K. Massie

12. No Ordinary Time: Franklin and Eleanor Roosevelt by Doris Kearns Goodwin

13. Peter the Great: His Life and World by Robert K. Massie

14. Steve Jobs by Walter Isaacson

15. Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin

16. The Professor and the Madman: A Tale of Murder, Insanity and the Making of the Oxford English Dictionary by Simon Winchester

17. The Rise of Theodore Roosevelt by Edmund Morris

18. The River of Doubt: Theodore Roosevelt’s Darkest Journey by Candice Millard

19. The Six Wives of Henry VIII by Alison Weir

20. The Wives of Henry VIII by Antonia Fraser

21. Thomas Jefferson: The Art of Power by Jon Meacham

22. Truman by David McCullough

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

24. Undaunted Courage: Meriwether Lewis, Thomas Jefferson, and the Opening of the American West by Stephen E. Ambrose

25. Wild Swans: Three Daughters of China by Jung Chang

Biography Genre Definition – Related Book Genres

* Autobiography Definition

* Celebrity Nonfiction Book Genre

* Entertainment Book Genre

* Memoir Definition

* Narrative Nonfiction Genre

* General Nonfiction Book Genre

Click here now to see all nonfiction genres .

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What Is Biography? Definition, Usage, and Literary Examples

Biography definition.

A  biography  (BYE-og-ruh-fee) is a written account of one person’s life authored by another person. A biography includes all pertinent details from the subject’s life, typically arranged in a chronological order. The word  biography  stems from the Latin  biographia , which succinctly explains the word’s definition:  bios  = “life” +  graphia  = “write.”

Since the advent of the written word, historical writings have offered information about real people, but it wasn’t until the 18th century that biographies evolved into a separate literary genre.  Autobiographies  and memoirs fall under the broader biography genre, but they are distinct literary forms due to one key factor: the subjects themselves write these works. Biographies are popular source materials for documentaries, television shows, and motion pictures.

The History of Biographies

The biography form has its roots in Ancient Rome and Greece. In 44 BCE, Roman writer Cornelius Nepos published  Excellentium Imperatorum Vitae  ( Lives of the Generals ), one of the earliest recorded biographies. In 80 CE, Greek writer Plutarch released  Parallel Lives , a sweeping work consisting of 48 biographies of famous men. In 121 CE, Roman historian Suetonius wrote  De vita Caesarum  ( On the Lives of the Caesars ), a series of 12 biographies detailing the lives of Julius Caesar and the first 11 emperors of the Roman Empire. These were among the most widely read biographies of their time, and at least portions of them have survived intact over the millennia.

During the Middle Ages, the Roman Catholic Church had a notable influence on biographies. Historical, political, and cultural biographies fell out of favor. Biographies of religious figures—including saints, popes, and church founders—replaced them. One notable exception was Italian painter/architect Giorgio Vasari’s 1550 biography,  The Lives of the Most Excellent Painters, Sculptors, and Architects , which was immensely popular. In fact, it is one of the first examples of a bestselling book.

Still, it wasn’t until the 18th century that authors began to abandon multiple subjects in a single work and instead focus their research and writing on one subject. Scholars consider James Boswell’s 1791  The Life of Samuel Johnson  to be the first modern biography. From here, biographies were established as a distinct literary genre, separate from more general historical writing.

As understanding of psychology and sociology grew in the 19th and early 20th centuries, biographies further evolved, offering up even more comprehensive pictures of their subjects. Authors who played major roles in this contemporary approach to biographing include Lytton Strachey, Gamaliel Bradford, and Robert Graves.

Types of Biographies

While all biographical works chronicle the lives of real people, writers can present the information in several different ways.

• Popular biographies are life histories written for a general readership.  The Immortal Life of Henrietta Lacks  by Rebecca Skloot and  Into the Wild  by Jon Krakauer are two popular examples.
• Critical biographies discuss the relationship between the subject’s life and the work they produced or were involved in; for example,  The Billionaire Who Wasn’t: How Chuck Feeney Secretly Made and Gave Away a Fortune  by Conor O’Clery and  Unpresidented: A Biography of Donald Trump  by Martha Brockenbrough.
• Historical biographies put greater understanding on how the subject’s life and contributions affected or were affected by the times in which they lived; see  John Adams  by David McCullough and  Catherine the Great  by Peter K. Massie.
• Literary biographies concentrate almost exclusively on writers and artists, blending a conventional  narrative  of the historical facts of the subject’s life with an exploration of how these facts impacted their creative output. Some examples include  Savage Beauty: The Life of Edna St. Vincent Millay  by Nancy Milford and  Jackson Pollock: An American Saga  by Gregory White Smith and Steven Naifeh.
• Reference biographies are more scholarly writings, usually written by multiple authors and covering multiple lives around a single topic. They verify facts, provide background details, and contribute supplemental information resources, like bibliographies, glossaries, and historical documents; for example,  Black Americans in Congress, 1870-2007  and the  Dictionary of Canadian Biography .
• Fictional biographies, or biographical novels, like  The Other Boleyn Girl  by Philippa Gregory, incorporate creative license into the retelling of a real person’s story by taking on the structure and freedoms of a novel. The term can also describe novels in which authors give an abundance of background information on their characters, to the extent that the novel reads more like a biography than fiction. An example of this is George R.R. Martin’s  Fire and Blood , a novel detailing the history of a royal family from his popular  A Song of Ice and Fire

Biographies and Filmed Entertainment

Movie makers and television creators frequently produce biographical stories, either as dramatized productions based on real people or as nonfiction accounts.

Documentary

This genre is a nonfictional movie or television show that uses historical records to tell the story of a subject. The subject might be a one person or a group of people, or it might be a certain topic or theme. To present a biography in a visually compelling way, documentaries utilize archival footage, recreations, and interviews with subjects, scholars, experts, and others associated with the subject.

Famous film documentaries include  Grey Gardens,  a biography of two of Jacqueline Kennedy’s once-wealthy cousins, who, at the time of filming, lived in squalor in a condemned mansion in the Hamptons; and  I Am Not Your Negro , a biography of the life and legacy of pioneering American author James Baldwin.

Television documentary series tell one story over the course of several episodes, like  The Jinx :  The Life and Deaths of Robert Durst , a biography of the real estate heir and alleged serial killer that focused on his suspected crimes. There are many nonfiction television shows that use a documentary format, but subjects typically change from one episode to the next, such as A&E’s  Biography  and PBS’s  POV .

These films are biographical motion pictures, written by screenwriters and performed by actors. They often employ a certain amount of creative liberty in their interpretation of a real life. This is largely done to maintain a feasible runtime; capturing all of the pivotal moments of a subject’s life in a 90- or 120-minute movie is all but impossible. So, filmmakers might choose to add, eliminate, or combine key events and characters, or they may focus primarily on one or only a few aspects of the subject’s life. Some popular examples:  Coal Miner’s Daughter , a biography of country music legend Loretta Lynn;  Malcom X , a biopic centered on the civil rights leader of the same name; and  The King’s Speech , a dramatization of Prince Albert’s efforts to overcome a stutter and ascend the English throne.

Semi-fictionalized account

This approach takes a real-life event and interprets or expands it in ways that stray beyond what actually happened. This is done for entertainment and to build the story so it fits the filmmaker’s vision or evolves into a longer form, such as a multi-season television show. These accounts sometimes come with the disclaimer that they are “inspired by true events.” Examples of semi-fictionalized accounts are the TV series  Orange Is the New Black ,  Masters of Sex , and  Mozart of the Jungle —each of which stem from at least one biographical element, but showrunners expounded upon to provide many seasons of entertainment.

The Functions of Biography

Biographies inform readers about the life of a notable person. They are a way to introduce readers to the work’s subject—the historical details, the subject’s motivations and psychological underpinnings, and their environment and the impact they had, both in the short and long term.

Because the author is somewhat removed from their subject, they can offer a more omniscient, third-person narrative account. This vantage point allows the author to put certain events into a larger context; compare and contrast events, people, and behaviors predominant in the subject’s life; and delve into psychological and sociological themes of which the subject may not have been aware.

Also, a writer structures a biography to make the life of the subject interesting and readable. Most biographers want to entertain as well as inform, so they typically use a traditional  plot  structure—an introduction,  conflict , rising of tension, a climax, a resolution, and an ending—to give the life story a narrative shape. While the ebb and flow of life is a normal day-to-day rhythm, it doesn’t necessarily make for entertaining reading. The job of the writer, then, becomes one of shaping the life to fit the elements of a good plot.

Writers Known for Biographies

Many modern writers have dedicated much of their careers to biographies, such as:

• Kitty Kelley, author of  Jackie Oh! An Intimate Biography; His Way: The Unauthorized Biography of Frank Sinatra ; and  The Family: The Real Story of the Bush Dynasty
• Antonia Fraser, author of  Mary Queen of Scots ;  Cromwell; Our Chief of Men ; and  The Gunpowder Plot: Terror and Faith in 1605
• David McCullough, author of  The Path Between the Seas; Truman ; and  John Adams
• Andrew Morton, author of  Diana: Her True Story in Her Own Words; Madonna ; and  Tom Cruise: An Unauthorized Biography
• Alison Weir, author of  The Six Wives of Henry VIII; Eleanor of Aquitaine: By the Wrath of God; Queen of England ; and  Katherine Swynford: The Story of John of Gaunt and His Scandalous Duchess

Examples of Biographies

1. James Boswell,  The Life of Samuel Johnson

The biography that ushered in the modern era of true-life writing,  The Life of Samuel Johnson  covered the entirety of its subject’s life, from his birth to his status as England’s preeminent writer to his death. Boswell was a personal acquaintance of Johnson, so he was able to draw on voluminous amounts of personal conversations the two shared.

What also sets this biography apart is, because Boswell was a contemporary of Johnson, readers see Johnson in the context of his own time. He wasn’t some fabled figure that a biographer was writing about centuries later; he was someone to whom the author had access, and Boswell could see the real-world influence his subject had on life in the here and now.

2. Sylvia Nasar,  A Beautiful Mind

Nasar’s 1998 Pulitzer Prize-nominated biography of mathematician John Nash introduced legions of readers to Nash’s remarkable life and genius. The book opens with Nash’s childhood and follows him through his education, career, personal life, and struggles with schizophrenia. It ends with his acceptance of the 1994 Nobel Prize for Economics. In addition to a Pulitzer nomination,  A Beautiful Mind  won the National Book Critics Circle Award for Biography, was a  New York Times  bestseller, and provided the basis for the Academy Award-winning 2001 film of the same name.

3. Catherine Clinton,  Harriet Tubman: The Road to Freedom

Clinton’s biography of the abolitionist icon is a large-scale epic that chronicles Tubman’s singular life. It starts at her birth in the 1820s as the slave Araminta Ross, continuing through her journey to freedom; her pivotal role in the Underground Railroad; her Moses-like persona; and her death in 1913.

Because Tubman could not read or write, she left behind no letters, diaries, or other personal papers in her own hand and voice. Clinton reconstructed Tubman’s history entirely through other source material, and historians often cite this work as the quintessential biography of Tubman’s life.

4. Megan Mayhew Bergman,  Almost Famous Women

Almost Famous Women  is not a biography in the strictest sense of the word; it is a fictional interpretation of real-life women. Each short story revolves around a woman from history with close ties to fame, such as movie star Marlene Dietrich, Standard Oil heiress Marion “Joe” Carstairs, aviatrix Beryl Markham, Oscar Wilde’s niece Dolly, and Lord Byron’s daughter Allegra. Mayhew Bergman imagines these colorful women in equally colorful episodes that put them in a new light—a light that perhaps offers them the honor and homage that history denied them.

Further Resources on Biography

Newsweek  compiled their picks for the  75 Best Biographies of All Time .

The Open Education Database has a list of  75 Biographies to Read Before You Die .

Goodreads put together a list of readers’  best biography selections .

If you’re looking to write biographies,  Infoplease  has instructions for writing shorter pieces, while  The Writer   has practical advice for writing manuscript-length bios.

Ranker  collected  a comprehensive list of famous biographers .

Related Terms

• Autobiography
• Short Story

What Is a Biography?

Learning from the experiences of others is what makes us human.

At the core of every biography is the story of someone’s humanity. While biographies come in many sub-genres, the one thing they all have in common is loyalty to the facts, as they’re available at the time. Here’s how we define biography, a look at its origins, and some popular types.

“Biography” Definition

A biography is simply the story of a real person’s life. It could be about a person who is still alive, someone who lived centuries ago, someone who is globally famous, an unsung hero forgotten by history, or even a unique group of people. The facts of their life, from birth to death (or the present day of the author), are included with life-changing moments often taking center stage. The author usually points to the subject’s childhood, coming-of-age events, relationships, failures, and successes in order to create a well-rounded description of her subject.

Biographies require a great deal of research. Sources of information could be as direct as an interview with the subject providing their own interpretation of their life’s events. When writing about people who are no longer with us, biographers look for primary sources left behind by the subject and, if possible, interviews with friends or family. Historical biographers may also include accounts from other experts who have studied their subject.

The biographer’s ultimate goal is to recreate the world their subject lived in and describe how they functioned within it. Did they change their world? Did their world change them? Did they transcend the time in which they lived? Why or why not? And how? These universal life lessons are what make biographies such a meaningful read.

Origins of the Biography

Greco-Roman literature honored the gods as well as notable mortals. Whether winning or losing, their behaviors were to be copied or seen as cautionary tales. One of the earliest examples written exclusively about humans is Plutarch’s Parallel Lives (probably early 2 nd century AD). It’s a collection of biographies in which a pair of men, one Greek and one Roman, are compared and held up as either a good or bad example to follow.

In the Middle Ages, Einhard’s The Life of Charlemagne (around 817 AD) stands out as one of the most famous biographies of its day. Einhard clearly fawns over Charlemagne’s accomplishments throughout, yet it doesn’t diminish the value this biography has brought to centuries of historians since its writing.

Considered the earliest modern biography, The Life of Samuel Johnson (1791) by James Boswell looks like the biographies we know today. Boswell conducted interviews, performed years of research, and created a compelling narrative of his subject.

The genre evolves as the 20th century arrives, and with it the first World War. The 1920s saw a boom in autobiographies in response. Robert Graves’ Good-Bye to All That (1929) is a coming-of age story set amid the absurdity of war and its aftermath. That same year, Mahatma Gandhi wrote The Story of My Experiments with Truth , recalling how the events of his life led him to develop his theories of nonviolent rebellion. In this time, celebrity tell-alls also emerged as a popular form of entertainment. With the horrors of World War II and the explosion of the civil rights movement, American biographers of the late 20 th century had much to archive. Instantly hailed as some of the best writing about the war, John Hersey’s Hiroshima (1946) tells the stories of six people who lived through those world-altering days. Alex Haley wrote the as-told-to The Autobiography of Malcom X (1965). Yet with biographies, the more things change, the more they stay the same. One theme that persists is a biographer’s desire to cast its subject in an updated light, as in Eleanor and Hick: The Love Affair that Shaped a First Lady by Susan Quinn (2016).

Types of Biographies

Contemporary Biography: Authorized or Unauthorized

The typical modern biography tells the life of someone still alive, or who has recently passed. Sometimes these are authorized — written with permission or input from the subject or their family — like Dave Itzkoff’s intimate look at the life and career of Robin Williams, Robin . Unauthorized biographies of living people run the risk of being controversial. Kitty Kelley’s infamous His Way: The Unauthorized Biography of Frank Sinatra so angered Sinatra, he tried to prevent its publication.

Historical Biography

The wild success of Lin-Manuel Miranda’s Hamilton is proof that our interest in historical biography is as strong as ever. Miranda was inspired to write the musical after reading Ron Chernow’s Alexander Hamilton , an epic 800+ page biography intended to cement Hamilton’s status as a great American. Paula Gunn Allen also sets the record straight on another misunderstood historical figure with Pocahontas: Medicine Woman, Spy, Entrepreneur, Diplomat , revealing details about her tribe, her family, and her relationship with John Smith that are usually missing from other accounts. Historical biographies also give the spotlight to people who died without ever getting the recognition they deserved, such as The Immortal Life of Henrietta Lacks .

Biography of a Group

When a group of people share unique characteristics, they can be the topic of a collective biography. The earliest example of this is Captain Charles Johnson’s A General History of the Pirates (1724), which catalogs the lives of notorious pirates and establishes the popular culture images we still associate with them. Smaller groups are also deserving of a biography, as seen in David Hajdu’s Positively 4th Street , a mesmerizing behind-the-scenes look at the early years of Bob Dylan, Joan Baez, Mimi Baez Fariña, and Richard Fariña as they establish the folk scene in New York City. Likewise, British royal family fashion is a vehicle for telling the life stories of four iconic royals – Queen Elizabeth II, Diana, Kate, and Meghan – in HRH: So Many Thoughts on Royal Style by style journalist Elizabeth Holmes.

Autobiography

This type of biography is written about one’s self, spanning an entire life up to the point of its writing. One of the earliest autobiographies is Saint Augustine’s The Confessions (400), in which his own experiences from childhood through his religious conversion are told in order to create a sweeping guide to life. Maya Angelou’s I Know Why the Caged Bird Sings is the first of six autobiographies that share all the pain of her childhood and the long road that led to her work in the civil rights movement, and a beloved, prize-winning writer.

Memoirs are a type of autobiography, written about a specific but vital aspect of one’s life. In Toil & Trouble , Augusten Burroughs explains how he has lived his life as a witch. Mikel Jollett’s Hollywood Park recounts his early years spent in a cult, his family’s escape, and his rise to success with his band, The Airborne Toxic Event. Barack Obama’s first presidential memoir, A Promised Land , charts his path into politics and takes a deep dive into his first four years in office.

Fictional Biography

Fictional biographies are no substitute for a painstakingly researched scholarly biography, but they’re definitely meant to be more entertaining. Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler constructs Zelda and F. Scott’s wild, Jazz-Age life, told from Zelda’s point of view. The Only Woman in the Room by Marie Benedict brings readers into the secret life of Hollywood actress and wartime scientist, Hedy Lamarr. These imagined biographies, while often whimsical, still respect the form in that they depend heavily on facts when creating setting, plot, and characters.

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English Studies

This website is dedicated to English Literature, Literary Criticism, Literary Theory, English Language and its teaching and learning.

Biography: A Literary Genre

The literary device of biography involves the meticulous construction of a narrative that captures the essence of an individual’s life through various literary techniques.

Etymology of Biography

Table of Contents

The term, biography, originates from the combination of two ancient Greek words: bios meaning “life” and graphein meaning “to write.” The word first appeared in the English language in the late 17th century, derived from the French word biographie. Its etymology reflects the essence of the genre , which involves the written account or narrative of an individual’s life.

Meanings of Biography

Biography has different meanings in different contexts. Here are some possible meanings.

• Written Account: Refers to a written account or narrative of a person’s life, detailing their experiences, achievements, and challenges.
• Comprehensive Exploration: Involves a comprehensive exploration of an individual’s personal and professional journey , offering insights into their character, motivations, and societal impact.
• Literary Genre: Describes the genre of literature or non-fiction writing that focuses on writing biographical accounts.
• Broader Scope: Can encompass any detailed study or examination of a person’s life, including audiovisual presentations, documentaries, or oral histories.
• Figurative Usage: Used metaphorically to describe the compilation or documentation of information about non-human entities, such as the biography of a company or an animal species, providing an understanding of their origins, development, and significance.

Definition of Literary Device of Biography

The literary device of biography involves the meticulous construction of a narrative that captures the essence of an individual’s life through various literary techniques. It uses characterization to portray the subject’s personality, motivations, and inner conflicts. It utilizes techniques such as direct and indirect characterization, dialogue, and anecdotal evidence.

Types of Biograph ies

Please note that these are general descriptions, and there may be some overlap or variations within each type of biography.

Literary Examples of Biographies

These biographies provide unique insights into the lives, experiences, and contributions of the individuals they feature, shedding light on historical events, social issues, and the complexities of human existence.

Suggested Readings about Biographies

• A xelrod, Alan, and Charles R. Cooper. The St. Martin’s Guide to Writing Biography . Bedford/St. Martin’s, 2003.
• Le, Hermoine. Biography: A Very Short Introduction . Oxford University Press, 2009.
• Lejeune, Philippe. On Autobiography . University of Minnesota Press, 1989.
• Smith, Sidonie, and Julia Watson. Reading Autobiography: A Guide for Interpreting Life Narratives . University of Minnesota Press, 2001.
• Spengemann, William C. The Forms of Autobiography: Episodes in the History of a Literary Genre . Yale University Press, 1980.

Related posts:

• Onomatopoeia: A Literary Device

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Literary Devices

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

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

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

Difference Between Biography and Autobiography

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

Common Examples of Biography

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

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

Significance of Biography in Literature

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

Examples of Biography in Literature

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

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

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

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

( Into the Wild by Jon Krakauer)

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

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

( Cleopatra: A Life by Stacy Schiff)

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

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

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

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

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

( Steve Jobs by Walter Isaacson)

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

Test Your Knowledge of Biography

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

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

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

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

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Brian K. Goodman

Phd in american studies, harvard university.

What is Biography?

Semester: , offered: .

I was a teaching fellow for this history seminar led by Jill Lepore. Here is the course description: "Biographers write histories of lives. Their storytelling is often novelistic but their standards of evidence are those of the historian. They confront distinctive questions: What lives are worth writing? What is the relationship between the individual and society? What rules govern the relationship between biographers and their subjects? How has the art of biography changed over the centuries, and what forces have driven those changes? In this section, we’ll read both notable biographies and the critical literature on biography as a genre that is often seen to be at odds with the conventions of other kinds of historical writing." 

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What is a Biography? Definition, Elements, and More

POSTED ON Oct 12, 2023

Written by Nicole Ahlering

Have you found yourself browsing the biography section of your favorite library or bookstore and wondered what is a biography book ? 

Don’t worry, we’ve got you covered! 

In this brief guide, we’ll explore the definition of a biography, along with its purpose, how you might write one yourself, and more. Let’s get started.

Need A Nonfiction Book Outline?

In this article, we'll explore:

What is a biography of a person .

A biography is simply a written account of someone’s life. It is written by someone other than whom the book is about. For example, an author named Walter Isaacson has written biographies on Steve Jobs , Leonardo da Vinci , and Einstein . 

Biographies usually focus on the significant events that occurred in a person’s life, along with their achievements, challenges they’ve overcome, background, relationships, and more. 

They’re an excellent way to get a comprehensive understanding of someone you admire. 

What is the point of a biography? 

Biographies have a few purposes. They can serve as historical records about a notable figure, inspire and educate readers, and give us more insight into how the folks we’re interested in lived their lives. 

They can also be valuable research resources for people studying a notable figure, like Einstein! 

Does a biography cover someone’s entire life? 

Biographies typically encompass most of a person’s life. Obviously, if the subject of the book is still alive, their entire life cannot be written about. 

If the person lived a long and eventful life with many achievements, the author may cover only an especially noteworthy period of the subject’s life. 

Even so, the point of a biography is to learn about your subject beyond just what they achieved, so there will likely still be contextual information about the subject’s childhood, formative experiences, and more. 

Is a biography always nonfiction? 

Surprisingly, a biography is not always nonfiction . There is a genre called biographical fiction in which the author uses real-life people and events to inspire their fictional narrative . 

This genre is fun because the author can postulate about what their subject may have been thinking, feeling, and more in a way they may not be able to with a nonfiction biography. 

Just keep in mind that biographical fiction blends facts with made-up information, so it can’t be used as a primary research source. That said, it’s a fun supplement to learning about a figure you’re interested in, and can help generate curiosity and insights about their lives. 

If you’d like to read a biographical fiction book, check out books like: 

• The Paris Wife by Paula McLain
•   The Other Boleyn Girl by Philippa Gregory
• The Aviator’s Wife by Melanie Benjamin 

Why would someone write a biography? 

An author may want to write a biography about someone because they’re inspired by them and want to educate the public about them. Or, they want to create a historical resource for scholars to study. 

An author may even have a commercial motivation for writing a biography, like a lucrative celebrity profile or a biography that has the potential to be adapted into a film or television series. 

Is it possible to write a biography about yourself? 

If you write a book about yourself, it’s called an autobiography or a memoir—not a biography. So, when you start writing your book, make sure you don't get caught in the autobiography vs biography or biography vs memoir maze.

If you’d like a book written about you that you’re not the author of, you can hire a writer to create one for you. You may choose to do this if you feel your writing skills are not up to par or you don’t have time to write your own biography .

Hiring a writer to write your biography can also make sense if you’d like to make sure the book is as objective and professional as it can be. Of course, this means you have to surrender control of the narrative! 

Some folks may also feel that a biography has more credence than an autobiography or memoir since the book’s subject doesn’t get to decide what is said about them. So hiring a writer for your biography can be a good way to credibly get your story out there. 

Can you write a biography about anyone you’d like? 

When it comes to writing about other people’s lives, it’s wise to proceed with an abundance of caution. After all, you don’t want to be sued for defamation or find yourself in other legal hot water. 

We highly suggest you look into the legal ramifications of writing about your chosen subject before you begin writing about them, but here are a couple of general things to know: 

• Typically, you don’t need permission to write about someone who is a public figure. However, the definition of a public figure can vary depending on your jurisdiction and more, so you’ll need to do your research.
• Even if you discover that you can write about your subject without permission, it’s still advisable to contact the subject and or their family. Not only is it good manners, but it may afford you some insider information about your subject. 
• If your subject or the family of your subject tells you they don’t want a biography about them, you may still legally be able to proceed—consult a lawyer—but you might face backlash when the book is published, limited access to information about your subject, and perhaps a pressing sense of guilt. Not worth it, if you ask us! 

Examples of biographies

Ready to get started reading biographies? Here are a few of the best biographies you should add to your list: 

• Frida: A Biography of Frida Kahlo by Hayden Herrera 
• Heavier Than Heaven: A Biography of Kurt Cobain by Charles R. Cross
• Anne Frank: The Biography by Melissa Müller
• You Never Forget Your First: A Biography of George Washington by Alexis Coe
• The Beatles: The Biography by Bob Spitz
• Victoria the Queen: An Intimate Biography of the Woman Who Ruled an Empire by Julia Baird

Final thoughts 

Reading a biography is a great way to get inspired, learn from other people’s experiences, and more. And writing a biography can be an excellent educational experience in its own right! If you’d like to publish a biography but don’t know where to start, we’re here to help. Simply schedule a book consultation to get started. 

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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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Definition of biography

Did you know.

So You've Been Asked to Submit a Biography

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

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

Examples of biography in a Sentence

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

Word History

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

1665, in the meaning defined at sense 2

Dictionary Entries Near biography

biographize

Cite this Entry

“Biography.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/biography. Accessed 4 Apr. 2024.

Kids Definition

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

Nglish: Translation of biography for Spanish Speakers

Britannica English: Translation of biography for Arabic Speakers

Britannica.com: Encyclopedia article about biography

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Introducing and Teaching the Biography Genre

Listen to the full episode to hear how to teach the biography genre:.

We’ve made it through January! The first month of 2022 is already over, I can’t believe it!  As we enter the month of February it is time that we discuss and celebrate what Black History Month really stands for with our students. My favorite way to do this is by acknowledging iconic Black and African American figures. 

This is truly a great opportunity to teach biography and I have so many creative ways to do this that I’m going to share with you today. In this episode I will share how to teach this nonfiction genre so your students get the most out of their reading experience. 

We all know that biographies are nonfiction texts that describe a person’s life, achievements, and impact they’ve had on their community or even the world. This may appear interesting to us as adults, but it is very likely that your student’s may actually find this genre to be quite boring. This is why it is so important to have interactive and exciting lessons when first introducing this genre. There are so many ways you can do this and it is so important to integrate creativity and movement in the process. 

Let’s not forget that knowing your students is the best way to make teaching biographies fun. It will be beneficial for you to get an inventory of their interests and hobbies so you can choose mentor texts accordingly. This will hook your students and ultimately spark their curiosity and hold their attention. 

It will also help your students relate to the person since they’ll be familiar with the vocabulary. Biographies have the ability to be interesting and engaging, and by using these tips and strategies you will have your students undivided attention.

In this episode on how to teach the biography genre, I share:

• Simple ways to help your students understand how biographies work
• Ways to use mentor texts when teaching your students biographies
• How to identify biographies from a big group of texts 
• Tips for recognizing the main purpose of the genre
• My favorite techniques to let students share their ideas with others

Related Resources:

• Free Biography Templates
• Easy Reader Biographies
• Black History Biography Activity Bundle

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What is a Biography?

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A biography is a record of a person’s life. Written in third person, biographies generally span a subject’s lifetime, from birth to death, and include major events in his or her public and private life. Biographies may delve into a person’s psychology and explore their emotional, intellectual, and spiritual lives.

The biography is one of the oldest forms of literature. Since ancient times, writers have recorded the lives of great leaders and warriors. Some early biographies were viewed as a form of historical record, others took on fantastical elements and grew into cultural epics. Notable ancient biographies include Plato’s Apology , which records a portion of the life of Socrates, and the Gospels of the Christian bible, which present four biographies of Jesus Christ. As the centuries progressed, the biography as a style of literary importance waxed and waned. In 1791, James Boswell reshaped the image of the biography with his Life of Samuel Johnson , a two-volume tome that recounted his own interactions with Johnson in exhaustive detail. As the influence of Romanticism and later psychoanalysis intersected with the world of literature, biographies continued to become more detailed in their explorations of the subject’s emotional and psychological experiences.

Although biographies and autobiographies are categorized as nonfiction, they are not necessarily devoid of bias. Biographers may portray their subjects in various lights depending on their relationship to and opinion regarding the subject. Shakespeare’s historical plays, for example, purport to be historical accounts of British kings (Richards, and Henrys), but the portrayal of each king is clearly influenced by Shakespeare’s own opinion, literary artistry, and awareness of his audience.

Today biographies make up a stable portion of yearly publications. Some take the form of plays, such as The Miracle Worker depicting the life of Helen Keller; others have been successfully adapted into films, like the 2014 film adaptation of Louis Zamperini’s biography Unbroken . Whether they are read or watched, biographies continue to fascinate and inform their modern audience.

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Literature in the biography genre.

• The Miracle Worker by William Gibson
• Life of Samuel Johnson by James Boswell
• The Boy on the Wooden Box by Leon Leyson
• Apology by Plato
• The Life of Charlotte Bronte by Elizabeth Gaskell
• Churchill: A Life by Martin Gilbert
• Naked at the Feast: A Biography of Josephine Baker by Lynn Haney
• John Adams by David McCullough
• The Immortal Life of Henrietta Lacks by Rebecca Skloot
• Cyrus the Great by Xenophon
• Hurricane: The Life of Rubin Carter, Fighter by James S. Hirsch
• Einstein: His Life and Universe by Walter Isaacson

Want to learn more? Check out our educational article on Literary Genres !

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What is a Genre? || Definition & Examples

"what is a genre": a literary guide for english students and teachers.

View the full series: The Oregon State Guide to English Literary Terms

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What is a Genre? Transcript (English and Spanish Subtitles Available in Video, Click Here for Spanish Transcript)

By Ehren Pflugfelder , Oregon State University Associate Professor of Rhetoric

12 February 2020

You know that moment when you’re watching a movie, and it’s been really captivating, and you’re getting interested in the characters, and a little bit lost in the story, when something shifts and you can sense what might happen next? Well in those moments, you might be experiencing what it’s like to recognize genre. And genre is a term frequently used to define the elements that repeat themselves in similar kinds of movies, books, television shows, music, and more.

I like to define genre. Genre? Jean? Jahnrah?

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Uh, let’s just go with genre (zhan-rah). OK. Genre is what some might call “typified rhetorical action” and what that means is that there are features that repeat again and again, over time, with few differences, in part because audiences expect certain things to happen or because they want certain kinds of experiences. Genre is the name we use to describe the categories that have developed over time for what we read, what we watch, and what we listen to. And the kinds of genres that exist in one culture at one time may not exist in another culture at another time – they’re constantly changing.

crazy_rich_asians_kiss.jpg

The main kinds of literary genre that you might be familiar with are fiction, poetry, and nonfiction. But those are the biggest categories we can think of, really. For example, non-fiction can encompass everything from a memoir, to a to a biography, to an instruction manual. All are kinds of non-fiction writing – the only thing that ties them together is that they’re not made up. The same is true for fiction and poetry, too, and when we read poetry or prose fiction, we, as the audience, have some expectations as to what should be included. That is, when we read fiction, we expect the narrative to be made up, and when we read poetry, we expect that the each line of a poem match with other lines in a particular way, or it rhyme in the manner of a  sonnet , or break rules of punctuation, or simply take us through a lot of figurative language in a very short amount of time.

But those are the big genre categories. Genre gets especially interesting when we find even smaller categories like action movies, or superhero action movies, or parody superhero action movies. So think of the superhero genre this way: there’s usually an evil villain trying to do something terrible that the superhero is going to try and stop; there’s usually smaller fight scenes throughout the movie and a big fight scene at the end where the superhero, or group of superheroes, triumph, often by using their superpowers. The reason I didn’t have to mention a SPOILER ALERT is because I didn’t give any of the plot away, and you all know that superhero movies follow this pattern. That narrative pattern , and all the other ways that we can describe other repeating features, are what makes up a genre.

What’s more is that more than one genre can exist at once. Think of Ant Man. It’s a superhero movie, an action movie, a comedy, and a parody of other superhero movies. In fact, parodies are where we really see how genres work. After all, the reason Ant Man is funny is because it’s making fun of our expectations of what a superhero movie should be – its making fun of the genre of superhero movies.

ant_man_image.jpg

We use these same terms and descriptions to analyze literary works, works of nonfiction, and poetry, too. So, if I want to understand gothic novels, like Frankenstein by Mary Shelley, or Dracula by Bran Stoker, I’m going to look for literary tropes that they share. Some of those tropes could be similar kinds of characters , plots, settings , or themes . Is there a creepy stranger in a cape? Is there danger lurking in the shadows? Is there a haunted castle? Are you encouraged to think of the sinister side of humanity? If so, you might be reading a gothic novel. When I analyze a genre, I’m likely to compare and contrast those features and try to understand how one novel adheres to the conventions of a particular genre or breaks away from our expectations and does something different. We can describe a genre by showing how similar features are repeated, and those elements include most any of the many literary terms that are featured in the other videos in this series. For a gothic novel, we might see metaphors  that connect events to scary or dangerous things, we might see foreshadowing of horrible events yet to come, or we might see a flashback to something terrifying that happened in them past and that changes how characters act in the present. All of these are features of a particular genre.

Now, one thing not to confuse with the idea of a genre is that of a medium. A medium is the form in which something is delivered, so we might say the medium of gothic novel is a printed book, or the medium of a superhero movie is that of film. Medium describes the kind of technology that is used to convey a story to us, but doesn’t necessarily help us understand the genre of what we’re reading or watching. People often ask me is email a genre of writing? And I respond by asking when writing an email if we’re required to write in a particular way. And for the most part, we’re not. In email, you can write a love letter, you can write an angry message to the company that sold you a dodgy product, or you can write a poem. Email itself might suggest certain kinds of writing – for example, you shouldn’t break up with someone through email – but it’s a medium that can hold lots of different genres – it itself is not a genre. Describing and analyzing genre is a powerful way to understand how narratives work, and a really useful way to make sense of stories and texts that surround us.

Want to cite this?

MLA Citation: Pflugfelder, Ehren. "What is a Genre?" Oregon State Guide to English Literary Terms, 12 Feb. 2020, Oregon State University, https://liberalarts.oregonstate.edu/wlf/what-genre . Accessed [insert date].

Further Resources for Teachers

Other examples of texts that parody the genres within which they work include Jorge Luis Borges's short story "Death and the Compass," Karen Russell's "Vampires in the Lemon Grove," Lewis Carroll's "Jabberwocky," Paolo Bacigalupi's "The Tamarisk Hunter," William Shakespeare's Sonnet 130, and Chris Ware's strange short graphic narrative "Thrilling Adventure Stories (I Guess)." For an example of a character who laughs at the genre he has found himself in, see our "What is a Flashback?" video.

Writing prompt: Select one of the above examples and explain how the author invokes the genre being parodied through the example's form or content. Next, try to explain the significance of the parody. What insight does the parody provide into the limitations of the genre? What tone or attitude does the poem or short story take towards the genre it parodies?

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Definition of Genre

Genre originates from the French word meaning kind or type. As a literary device, genre refers to a form, class, or type of literary work. The primary genres in literature are poetry, drama / play , essay , short story , and novel . The term genre is used quite often to denote literary sub-classifications or specific types of literature such as comedy , tragedy , epic poetry, thriller , science fiction , romance , etc.

It’s important to note that, as a literary device, the genre is closely tied to the expectations of readers. This is especially true for literary sub-classifications. For example, Jane Austen ’s work is classified by most as part of the romance fiction genre, as demonstrated by this quote from her novel Sense and Sensibility :

When I fall in love, it will be forever.

Though Austen’s work is more complex than most formulaic romance novels, readers of Austen’s work have a set of expectations that it will feature a love story of some kind. If a reader found space aliens or graphic violence in a Jane Austen novel, this would undoubtedly violate their expectations of the romantic fiction genre.

Difference Between Style and Genre

Although both seem similar, the style is different from the genre. In simple terms, style means the characters or features of the work of a single person or individual. However, the genre is the classification of those words into broader categories such as modernist, postmodernist or short fiction and novels, and so on. Genres also have sub-genre, but the style does not have sub-styles. Style usually have further features and characteristics.

Common Examples of Genre

Genres could be divided into four major categories which also have further sub-categories. The four major categories are given below.

• Poetry: It could be categorized into further sub-categories such as epic, lyrical poetry, odes , sonnets , quatrains , free verse poems, etc.
• Fiction : It could be categorized into further sub-categories such as short stories, novels, skits, postmodern fiction, modern fiction, formal fiction, and so on.
• Prose : It could be further categorized into sub-genres or sub-categories such as essays, narrative essays, descriptive essays, autobiography , biographical writings, and so on.
• Drama: It could be categorized into tragedy, comedy, romantic comedy, absurd theatre, modern play, and so on.

Common Examples of Fiction Genre

In terms of literature, fiction refers to the prose of short stories, novellas , and novels in which the story originates from the writer’s imagination. These fictional literary forms are often categorized by genre, each of which features a particular style, tone , and storytelling devices and elements.

Here are some common examples of genre fiction and their characteristics:

• Literary Fiction : a work with artistic value and literary merit.
• Thriller : features dark, mysterious, and suspenseful plots.
• Horror : intended to scare and shock the reader while eliciting a sense of terror or dread; may feature scary entities such as ghosts, zombies, evil spirits, etc.
• Mystery : generally features a detective solving a case with a suspenseful plot and slowly revealing information for the reader to piece together.
• Romance : features a love story or romantic relationship; generally lighthearted, optimistic, and emotionally satisfying.
• Historical : plot takes place in the past with balanced realism and creativity; can feature actual historical figures, events, and settings.
• Western : generally features cowboys, settlers, or outlaws of the American Old West with themes of the frontier.
• Bildungsroman : story of a character passing from youth to adulthood with psychological and/or moral growth; the character becomes “educated” through loss, a journey, conflict , and maturation.
• Science Fiction : speculative stories derived and/or inspired by natural and social sciences; generally features futuristic civilizations, time travel, or space exploration.
• Dystopian : sub-genre of science fiction in which the story portrays a setting that may appear utopian but has a darker, underlying presence that is problematic.
• Fantasy : speculative stories with imaginary characters in imaginary settings; can be inspired by mythology or folklore and generally include magical elements.
• Magical Realism : realistic depiction of a story with magical elements that are accepted as “normal” in the universe of the story.
• Realism : depiction of real settings, people, and plots as a means of approaching the truth of everyday life and laws of nature.

Examples of Writers Associated with Specific Genre Fiction

Writers are often associated with a specific genre of fictional literature when they achieve critical acclaim, public notoriety, and/or commercial success with readers for a particular work or series of works. Of course, this association doesn’t limit the writer to that particular genre of fiction. However, being paired with a certain type of literature can last for an author’s entire career and beyond.

Here are some examples of writers that have become associated with specific fiction genre:

• Stephen King: horror
• Ray Bradbury : science fiction
• Jackie Collins: romance
• Toni Morrison: black feminism
• John le Carré: espionage
• Philippa Gregory: historical fiction
• Jacqueline Woodson: racial identity fiction
• Philip Pullman: fantasy
• Flannery O’Connor: Southern Gothic
• Shel Silverstein: children’s poetry
• Jonathan Swift : satire
• Larry McMurtry: western
• Virginia Woolf: feminism
• Raymond Chandler: detective fiction
• Colson Whitehead: Afrofuturism
• Gabriel García Márquez : magical realism
• Madeleine L’Engle: children’s fantasy fiction
• Agatha Christie : mystery
• John Green : young adult fiction
• Margaret Atwood: dystopian

Famous Examples of Genre in Other Art Forms

Most art forms feature genre as a means of identifying, differentiating, and categorizing the many forms and styles within a particular type of art. Though there are many crossovers when it comes to genre and no finite boundaries, most artistic works within a particular genre feature shared patterns , characteristics, and conventions.

Here are some famous examples of genres in other art forms:

• Music : rock, country, hip hop, folk, classical, heavy metal, jazz, blues
• Visual Art : portrait, landscape, still life, classical, modern, impressionism, expressionism
• Drama : comedy, tragedy, tragicomedy , melodrama , performance, musical theater, illusion
• Cinema : action, horror, drama, romantic comedy, western, adventure , musical, documentary, short, biopic, fantasy, superhero, sports

Examples of Genre in Literature

As a literary device, the genre is like an implied social contract between writers and their readers. This does not mean that writers must abide by all conventions associated with a specific genre. However, there are organizational patterns within a genre that readers tend to expect. Genre expectations allow readers to feel familiar with the literary work and help them to organize the information presented by the writer. In addition, keeping with genre conventions can establish a writer’s relationship with their readers and a framework for their literature.

Here are some examples of genres in literature and the conventions they represent:

Example 1: Macbeth by William Shakespeare

Tomorrow, and tomorrow, and tomorrow , Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out , brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.

The formal genre of this well-known literary work is Shakespearean drama or play. Macbeth can be sub-categorized as a literary tragedy in that the play features the elements of a classical tragic work. For example, Macbeth’s character aligns with the traits and path of a tragic hero –a protagonist whose tragic flaw brings about his downfall from power to ruin. This tragic arc of the protagonist often results in catharsis (emotional release) and potential empathy among readers and members of the audience .

In addition to featuring classical characteristics and conventions of the tragic genre, Shakespeare’s play also resonates with modern readers and audiences as a tragedy. In this passage, one of Macbeth’s soliloquies , his disillusionment, and suffering is made clear in that, for all his attempts and reprehensible actions at gaining power, his life has come to nothing. Macbeth realizes that death is inevitable, and no amount of power can change that truth. As Macbeth’s character confronts his mortality and the virtual meaninglessness of his life, readers and audiences are called to do the same. Without affirmation or positive resolution , Macbeth’s words are as tragic for readers and audiences as they are for his own character.

Like  M a cbeth , Shakespeare’s tragedies are as currently relevant as they were when they were written. The themes of power, ambition, death, love, and fate incorporated in his tragic literary works are universal and timeless. This allows tragedy as a genre to remain relatable to modern and future readers and audiences.

Example 2: The Color Purple by Alice Walker

All my life I had to fight. I had to fight my daddy . I had to fight my brothers. I had to fight my cousins and my uncles. A girl child ain’t safe in a family of men. But I never thought I’d have to fight in my own house. She let out her breath. I loves Harpo, she say. God knows I do. But I’ll kill him dead before I let him beat me.

The formal genre of this literary work is novel. Walker’s novel can be sub-categorized within many fictional genres. This passage represents and validates its sub-classification within the genre of feminist fiction. Sofia’s character, at the outset, is assertive as a black woman who has been systematically marginalized in her community and family, and she expresses her independence from the dominance and control of men. Sofia is a foil character for Celie, the protagonist, who often submits to the power, control, and brutality of her husband. The juxtaposition of these characters indicates the limited options and harsh consequences faced by women with feminist ideals in the novel.

Unfortunately, Sofia’s determination to fight for herself leads her to be beaten close to death and sent to prison when she asserts herself in front of the white mayor’s wife. However, Sofia’s strong feminist traits have a significant impact on the other characters in the novel, and though she is not able to alter the systemic racism and subjugation she faces as a black woman, she does maintain her dignity as a feminist character in the novel.

Example 3: A Word to Husbands by Ogden Nash

To keep your marriage brimming With love in the loving cup, Whenever you’re wrong, admit it; Whenever you’re right, shut up.

The formal genre of this literary work is poetry. Nash’s poem would be sub-categorized within the genre of humor . The poet’s message to what is presumably his fellow husbands is witty, clear, and direct–through the wording and message of the last poetic line may be unexpected for many readers. In addition, the structure of the poem sets up the “punchline” at the end. The piece begins with poetic wording that appears to romanticize love and marriage, which makes the contrasting “base” language of the final line a satisfying surprise and ironic twist for the reader. The poet’s tone is humorous and light-hearted which also appeals to the characteristics and conventions of this genre.

Synonyms of Genre

Genre doesn’t have direct synonyms . A few close meanings are category, class, group, classification, grouping, head, heading, list, set, listing, and categorization. Some other words such as species, variety, family, school, and division also fall in the category of its synonyms.

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Meaning of biography in English

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• This biography offers a few glimpses of his life before he became famous .
• Her biography revealed that she was not as rich as everyone thought .
• The biography was a bit of a rush job .
• The biography is an attempt to uncover the inner man.
• The biography is woven from the many accounts which exist of things she did.
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• novelistically
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