The term "autobiography" in literature has long signified more than just a chronological account of a life—it embodies a self-fashioning narrative that blends personal memory, introspection, and artistry. In various texts, the use of "autobiography" highlights its dual role as both a factual record and a creative interpretation of the self. For instance, Nietzsche’s musings hint at an ironic or playful anticipation of a "clever autobiography" ([1], [2]), while Jefferson’s frequent references to Thurlow Weed’s autobiography underscore its function as an intimate historical record ([3], [4], [5], [6], [7], [8], [9], [10], [11], [12], [13], [14]). Authors like Mill and Wilde further explore the genre not only as a repository of personal details but also as a medium through which art and philosophy merge ([15], [16], [17], [18], [19], [20], [21]). Similarly, autobiographies by figures such as Helen Keller and Paramahansa Yogananda use the form to combine personal narrative with broader cultural or spiritual insights ([22], [23], [24], [25], [26], [27], [28]). Together, these examples illustrate how the genre invites both reflection and critique, making each autobiography a unique window into the complexities of self-representation in literature.