From sad-fishing on Facebook to sensational Substack revelations – today’s readers don’t have to look far for confessional writing. Is this the end of autobiography?
Every day I meet strangers who share intimate details with me. It’s called reading. In a newspaper piece a former sex addict recalls her need for BDSM (“when a sexual partner hurt me, I felt seen”) and how she conquered her dependency. On Substack an actor describes her grief on losing a baby (“After the miscarriage, I became convinced my daughter was backstage. I would push back the costumes on the rack and almost expect to find her”). And then there are the published memoirs, first-person stories of trauma, displacement and heartbreak. It’s not just women who unburden themselves, of course. As Martin Amis says in his memoir, Experience: “We are all writing it or at any rate talking it: the memoir, the apologia, the CV, the cri de coeur.”
Recent memoirs have upped the ante, though. What was once a geriatric, self-satisfied genre (politicians, generals and film stars looking back fondly on long careers) is now open to anyone with a story to tell – “nobody memoirs”, the American journalist Lorraine Adams has called them. Candour is the key, no matter how fraught the consequences. “Most writers I know,” Maggie Nelson writes in The Argonauts, “nurse persistent fantasies about the horrible things – or the horrible thing – that will happen to them if and when they express themselves as they desire”. But she takes that risk, addressing the book to “you”, her fluidly gendered husband Harry (who’s angry when she shows him a draft), while exploring identity, pregnancy, motherhood and sexuality.
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