Storytelling has always played a substantial role in man's life and culture. Whether as source of entertainment or a way of passing on knowledge, stories always have the function of giving information to the audience. In addition, stories often 'tell' the listener or reader something about the 'teller' or 'narrator'. For humans, it is natural to tell stories, but what about animals? For a long period of history, animals have been a major part of literature, however, they were only ascribed minor roles. In the last two centuries, their roles have changed in literature, and there are even novels that have animals as first-person narrators.This thesis seeks to look into the development of first-person animal narration. It examines the relationship between the historical changes in society, the different literary movements and their effects on the perception as well as on the portrayal of animals. Starting with Black Beauty by Anna Sewell, which is discussed as a representative of the early beginnings of animal autobiographies, the ensuing chapters will discuss and analyse various first-person narrations. In addition to Black Beauty, two fictional autobiographies from the late twentieth century, namely Michael Morpurgo's War Horse and I, Houdini by Lynne Reid Banks, are looked into in detail to show a broader variety of animal autobiographies of this century. Moreover, two additional animal autobiographies from the United States, John Hawkes' Sweet William and A Dog's Purpose by Bruce W. Cameron, are also included to show that the animal autobiography is not only a phenomenon of the British cultural sphere. The last two works featuring first-person animal narration are by Joseph Smith. In comparison to the fictional autobiographies, the novels by Smith show a slight shift in narration and a progression in the typological cycle as described by Stanzel (cf. Stanzel 1979, 1986).