Most first novels are disguised autobiographies. This autobiography is a disguised novel. On the periphery, names and attributes of real people have been changed and shuffled so as to render identification impossible. Nearer the centre, important characters have been run through the scrambler or else left out completely. So really the whole affair is a figment got up to sound like truth. All you can be sure of is one thing: careful as I have been to spare other people’s feelings, I have been even more careful not to spare my own. Up, that is, of course, to a point.
Sick of being a prisoner of my childhood, I want to put it behind me. To do that, I have to remember what it was like. I hope I can dredge it all up again without sounding too pompous. Solemnity, I am well aware, is not my best vein. Yet it can’t be denied that books like this are written to satisfy a confessional urge; that the main-spring of a confessional urge is guilt; and that somewhere underneath the guilt there must be a crime. In my case I suspect there are a thousand crimes, which until now I have mainly been successful in not recollecting. Rilke used to say that no poet would mind going to gaol, since he would at least have time to explore the treasure house of his memory. In many respects Rilke was a prick.
—from the preface to Clive James’ Unreliable Memoirs (1980)