Indian women writers used Autobiographies not only to uncover their inner- most recesses but a platform to explore their feminine sensibilities felt from childhood to the old age. Autobiography seems to be a braver attempt than fiction because it is supposed to portray their private incidents of life, secret feelings, personal emotions and clandestine relationships which can play havoc with their private and social life and thus have real impact and wider appeal. This attempt can be termed as Herculean in the case of female authors as they have to breathe in the male dominated society which makes it difficult for them to survive not only as authors but as dignified citizens of society as well if there is anything against the established norms, traditions and taboos of society and more so in the case of those related to females in their life stories. These life narratives were termed as Autogynographies by Domma Stanton to mark the difference between a male autobiography and a female one. These are full of the features which are central to the core of woman’s heart i.e. childhood, marriage and children on which a male throws just a cursory glance. A man speaks about his success, ambitions and conflicts and struggle in achieving the same whereas a woman embarks upon the emotional issues of relationships with parents, siblings, spouse and offsprings primarily and gives second place to career and office. In the 20th century Anglo-Indian autogynographies written from Sunity Devee’s The autobiography of an Indian Princess (1921) to Mrinal Pandey’s Daughter’s Daughter (1993) and Shobha De’s Selective Memories (1998), These women writers explored not only their inner recesses of heart but exposed subtle and faint forms of discrimination and unfairness of this male dominated society also which otherwise remain hidden in other genres of literature.