Autobiography Quotes

an autobiography held out the promise of hearing truths that only friends confess to one another but are knowledge you need to live.

I have very rarely written autobiographical stuff. "Greasy Lake" and some other works have some autobiographical elements, as does "Birnam Wood," the one I chose to end [this collection] with. I lived in that house and some of my feelings are expressed in it, but it's not autobiography. It was not me and that didn't happen exactly that way.

A memoir is a book about some particular thread or theme or moment in a person's life, whereas an autobiography is the entire life.

I found the best ideas usually came, not when one was actively striving for them, but when one was in a more relaxed state… I used to take long solitary walks on Sundays, during which I tended to review the current situation in a leisurely way. Such occasions often proved fruitful, even though (or perhaps, because) the primary purpose of the walk was relaxation and not research.

One puts off the biography like you put off death. To write an autobiography is to etch the words on your own gravestone.

I keep stacks of Autobiography of a Yogi around the house, and I give it out constantly to people. When people need 'regrooving,' I say read this, because it cuts to the heart of every religion.

When I find that I am more conscious, it's because I'm in tune with a higher reality. When I'm less conscious, it's because I've cut off that entunement to some extent. Maybe through drinking, through anger, through whatever. And I realized then that God has to be an infinite consciousness, and that I had to be an expression of that consciousness. And that the goal of life then must be to become more and more in tune with that consciousness. And I decided to give my life to God. And around that time, to make a long story short, I found Autobiography of a Yogi.

Autobiography is not important. Authenticity is important. The writer must fire herself through the text, be the molten stuff that welds together disparate elements. I believe there is always exposure, vulnerability, in the writing process, which is not to say it is either confessional or memoir. Simply, it is real.

There's something about the authenticity rather than the autobiography that makes my story and my pain move across and become your story and your pain.

If you wish to understand me at all (and to write an autobiography is only to open a window into one's heart) you must understand first and foremost, that I am an Australian.

I wish I were one of those terribly clever people who, when they write their autobiographies, always say, when I was fifteen months old I distinctly remember my Aunt Fanny saying to me, etc.

One of the most attractive things about writing your autobiography is that you're not dead.

I employed my wife for three years to sit in the attic and type up my autobiography, 700 pages, organise everywhere I go. I'm paying the normal rate of tax on the money I take out for myself.

People, I just want to say, you know, can we all get along? Can we get along? Can we stop making it, making it horrible for the older people and the kids? A man cannot know himself better than by attending to the feelings of his heart and to his external actions, from which he may with tolerable certainty judge "what manner of person he is." I have therefore determined to keep a daily journal.

It is long ere we discover how rich we are. Our history, we are sure, is quite tame: we have nothing to write, nothing to infer. But our wiser years still run back to the despised recollections of childhood, and always we are fishing up some wonderful article out of that pond; until, by and by, we begin to suspect that the biography of the one foolish person we know is, in reality, nothing less than the miniature paraphrase of the hundred volumes of the Universal History.

The F.B.I. was very happy with the article they produced, which was entitled, "The Black Merchants of Hate," that came out in early 1963. What's significant about that piece is that that became the template for what evolved into the basic narrative structure of The Autobiography of Malcolm X.

All art is autobiographical; the pearl is the oyster's autobiography.

Every artist writes his own autobiography.

My life has been sadly lacking in snails. I can't clearly remember any first-hand encounters. The best thing I can come up with is second-hand, a passage in Jacques Pépin's autobiography (The Apprentice: My Life in the Kitchen) in which he describes prying snails from the terrace of his vacation home and cooking them up for dinner.

On the trail of another man, the biographer must put up with finding himself at every turn; any biography uneasily shelters an autobiography within it.

To me, craft work is the ultimate. Maybe I got this idea from the autobiography of Benvenuto Cellini, who was employed as a sculptor to the state and church, making coins and things. While he admired Michelangelo, he also made fun of his spiritual angst with art.

When Shonda Rhimes writes her autobiography, it should be called How to Get Away With Being an Angry Black Woman.

The only people who can ever put ideas into context are people who don't care; the unbiased and apathetic are usually the wisest dudes in the room. If you want to totally misunderstand why something is supposedly important, find the biggest fan of that particular thing and ask him for an explanation. He will tell you everything that doesn't matter to anyone who isn't him. He will describe paradoxical details and share deeply personal anecdotes, and it will all be autobiography; he will simply be explaining who he is by discussing something completely unrelated to his life.

Anyone who has read Yeats's wonderful Autobiography will remember his Sligo shabby, shadowed, half country and half sea, full of confused romance, superstition, poverty, eccentricity, unrecognized anachronism, passion and ignorance and the little boy's misery. Yeats was treated well but was bitterly unhappy; he prayed that he would die, and used often to say to himself: "When you are grown up, never talk as grown-up people do of the happiness of childhood.

You may well ask how I expect to assert my privacy by resorting to the outrageous publicity of being one's actual self on paper. There's a possibility of it working if one chooses the terms, to wit: outshouting image-gimmick America through a quietly desperate search for self.

Twenty-two years ago Judge [then-Senator Stephen] Douglas and I first became acquainted. We were both young then; he a trifle younger than I. Even then, we were both ambitious; I, perhaps, quite as much so as he. With me, the race of ambition has been a failure--a flat failure; with him it has been one of splendid success.

I’m not the smartest guy in the world, but I’m certainly not the dumbest. I mean, I’ve read books like "The Unbearable Lightness of Being" and "Love in the Time of Cholera", and I think I’ve understood them. They’re about girls, right? Just kidding. But I have to say my all-time favorite book is Johnny Cash’s autobiography "Cash" by Johnny Cash.

Let me put it in a positive light, with that archive [of Anne Romaine], we have gained extensive knowledge about how [Alex] Haley and Malcolm X actually worked and how the book, the autobiography, was constructed.

UCLA acknowledged this shift by bringing in Alex Haley (the co-author of The Autobiography of Malcolm X) and Eldridge Cleaver (Soul on Ice) as speakers.

Over the years your bodies become walking autobiographies, telling friends and strangers alike of the minor and major stresses of your lives.

I don’t feel pressure. I don’t give a toss about it. I spent the afternoon of Sunday, July 9, 2006 in Berlin sleeping and playing the PlayStation. In the evening, I went out and won the World Cup.

Of my private life I have nothing to say: it does not concern others. I have always had little liking for autobiographies and have no interest in anyone's affairs. History proper and novels hold no attractions for me except insofar as, I can discern there, as within our immortal Revolution, the adventures of the mind.

I have always hated biography, and more especially, autobiography. If biography, the writer invariably finds it necessary to plaster the subject with praises, flattery and adulation and to invest him with all the Christian graces. If autobiography, the same plan is followed, but the writer apologizes for it.

I got Robbie's mobile number and rang him. It went to his voicemail: 'Hi, it's Robbie - whazzup!' Like the Budweiser ad. I never called him back. I thought: 'I can't be f****** signing that'.

The ‘I’ character in journalism is almost pure invention. Unlike the ‘I’ of autobiography, who is meant to be seen as a representation of the writer, the ‘I’ of journalism is connected to the writer only in a tenuous way—the way, say, that Superman is connected to Clark Kent. The journalistic ‘I’ is an overreliable narrator, a functionary to whom crucial tasks of narration and argument and tone have been entrusted, an ad hoc creation, like the chorus of Greek tragedy. He is an emblematic figure, an embodiment of the idea of the dispassionate observer of life.

If you say a modern celebrity is an adulterer, a pervert and a drug addict, all it means is that you've read his autobiography.

Here is a quilted book about mathematical practice, each patch wonderfully prepared. Part invitation to number theory, part autobiography, part sociology of mathematical training, Mathematics without Apologies brings us into contemporary mathematics as a living, active inquiry by real people. Anyone wanting a varied, cultured, and penetrating view of today's mathematics could find no better place to engage.

In writing the autobiography, I can really chuckle when I look at the songs. I was acting out the part. I saw myself as a victim.

Empathic listening is so powerful because it gives you accurate data to work with. Instead of projecting your own autobiography and assuming thoughts, feelings, motives and interpretation, you're dealing with the reality inside another person's head and heart. You're listening to understand. You're focused on receiving the deep communication of another human soul.

Ive never had any interest at all in being a journalist or writing some sort of historically accurate autobiography.

In [Yogananda's] celebrated Autobiography of a Yogi, he offers a stunning account of the 'cosmic consciousness' reached on the upper levels of yogic practice, and numerous interesting perspectives on human nature from the yogic and Vedantic points of view.

What a weak, credulous, incredulous, unbelieving, superstitious, bold, frightened, what a ridiculous world ours is, as far as concerns the mind of man. How full of inconsistencies, contradictions and absurdities it is. I declare that taking the average of many minds that have recently come before me ... I should prefer the obedience, affections and instinct of a dog before it.

Poets are not so scrupulous as you are. They know how useful passion is for publication. Nowadays a broken heart will run to many editions." "I hate them for it," cried Hallward. "An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty. Some day I will show the world what is it; and for that the world shall never see my portrait of Dorian Gray.

An artist should create beautiful things, but should put nothing of his own life into them. We live in an age when men treat art as if it were meant to be a form of autobiography. We have lost the abstract sense of beauty.

Every autobiography ... becomes an absorbing work of fiction, with something of the charm of a cryptogram.

In one deep sense, novels are concealed autobiography. I don't mean that you are telling facts about yourself, but you are trying to find out what you really think or who you are.

When you realize how hard it is to know the truth about yourself, you understand that even the most exhaustive and well-meaning autobiography, determined to tell the truth, represents, at best, a guess. There have been times in my life when I felt incredibly happy. Life was full. I seemed productive. Then I thought,"Am I really happy or am I merely masking a deep depression with frantic activity?" If I don't know such basic things about myself, who does?

Tell me about yourself, Miss Russel." I started to give him the obligatory response, first the demurral and then the reluctant flat autobiography, but some slight air of polite inattention in his manner stopped me. Instead, I found myself grinning at him. "Why don't you tell me about myself, Mr. Holmes?

The trouble with writing a book about yourself is that you can’t fool around. If you write about someone else, you can stretch the truth from here to Finland. If you write about yourself the slightest deviation makes you realize instantly that there may be honor among thieves, but you are just a dirty liar.

I have been commissioned to write an autobiography and I would be grateful to any of your readers who could tell me what I was doing between 1960 and 1974.