TAYAH LEE

The literary genre of autobiography holds deeper layers of meaning than one would assume. Although it was once historically seen as an inferior genre with strict categorizations, autobiography theorist Paul John Eakin stresses that the genre produces many insights to identity. For example, in his article, “Breaking Rules: The Consequences of Self-Narration,” Eakin argues that the constraints on autobiographical narrative simultaneously function as rules for identity (114). The social expectations of these are also embodied in the three main unspoken rules of autobiography and their corresponding consequences which Eakin describes (115).

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Eakin explains that autobiography is not merely a literary genre, but “an integral part of a lifelong process of identity formation” (114) that is taught from a very early age (115). From two and a half to four years old, children are taught that narration is a form of self-expression and cognitive experience that draws from autobiographical memories (Eakin 115). They are also taught the accompanying social expectations and responsibilities, as described in three general rules that constrict not only autobiography, but—as Eakin argues—identity as well.

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The first rule described, telling the truth, is “surely the most familiar of the rules we associate with autobiographical discourse” (Eakin 115). When this rule is broken, as in the autobiography I, Rigoberta Menchú, authors receive scrutiny and judgement. However, Menchú did not receive nearly as much judgement from the public as the “completely discredited” Binjamin Wilkomirski after the revelation of his dishonest autobiography, Fragments (Eakin 117). Menchú’s motives remained amicable in the eyes of the public, and Wilkomirski’s desire for recognition did not. The imbalanced damage to the authors’ reputations resulted from the public not just evaluating the texts but judging the authors (Eakin 116). The second rule concerns the privacy of others (Eakin 118). Eakin articulates that this transgression has the potential to damage writer reputation as well, just as it did with The Kiss author, Kathryn Harrison. The narrative of her incestuous relationship with her father was not scrutinized for said actions, but for violating the privacy of her young children (Eakin 119). She was judged more harshly for the effects of her writing, rather than the contents of it. The last rule requires acceptable autobiographies to display a normal standard of identity (Eakin 119). Eakin presents how those who deviate from such norms are often stereotyped and institutionalized (120). For example, not only was Girl, Interrupted author Susanna Kaysen hospitalized for her borderline personality syndrome, but her identity “arrested” and labelled as well (120). The consequence for not adhering to the rule of normalcy is being stripped of the identity of sanity.

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Narrative plays a key role in the formation of identity, a concept instilled in people from a young age (115). With this form of expression comes the social expectation of truth, privacy, and normalcy, which are embodied in the rules for autobiography. In all cases, breaking these rules lead to the judgement of the authors as people rather than the contents of their works. Thus is the basis for Eakin’s argument: in the autobiographical discourse of identity, rules for autobiography act as rules for identity.

 

Works Cited

Eakin, Paul John. "Breaking Rules: The Consequences of Self-Narration." Biography, vol. 24, no. 1, 2001, pp. 113-127. Project Muse, doi:10.1353/bio.2001.0008.