This chapter presents the third step in the book’s exploration of the selfhood shaped in autobiographical graphic narratives, or autographics. The chapter focuses on the logic of trace—that is, the logic of the drawn line on the page. As many comics scholars argue, the materiality of this trace alludes to the hand and body of the cartoonist. This chapter explores this materiality further with the help of a psychoanalytical framework rooted in the works of (1) Donald Winnicott and Marion Milner, and (2) Jacques Lacan. With the help of Winnicott and Milner, the chapter argues, through a dialogue with autographics by Lynda Barry and Alison BechdelBechdel, Alison, that line drawings in autographics generate a transitional space in which the cartoonist discovers themselves. With the help of Lacan, the chapter shows that a drawn line can be understood as a “unary trait” that functions as a self-positing. The chapter then explores this self-positing through a critical reading of Paul de Man’s interpretation of Fichte’s concept of the Tathandlung, which de Man links to an understanding of irony as permanent parabasis. The chapter argues that a graphic version of this Tathandlung—a self-positing through line drawing—is performed in Katie Green’s autographic Lighter Than My Shadow.