If there is one thing in Philip Roth's The Facts that I find issue with, it is its slight figure against calling itself an autobiography.

Rather, it is the brand of life subjected through a novelist's lens. At times inching into metafictive-nonfiction (if that makes sense), we get a sense that Roth lives on the fringes of reality, where the author begins and Zuckerman, his fictional creation and sometimes avatar, ends or perhaps vice versa.

What makes The Facts exceptional and unique is this austere approach to looking at his life for the first time non-fictionally. Instead of trying to distill all facets of his life like Johnson or Pepys, Roth takes a few choice photographs from his life and mines a thousand rich words from them.

It just leaves you wanting to read thousands more. This look at a writer's life, his identity, his heritage and culture, and the controversial works that are his legacy offers a fascinating perspective.

We get to see how Roth's experiences have shaped him as a writer and as a person.

The book is a testament to his talent and his ability to explore the human condition in a way that is both profound and engaging.

Overall, The Facts is a must-read for anyone interested in Roth's work or in the art of writing itself.

Roth is perfect as always.

His work is a masterpiece of art, crafted with precision and care.

Every detail is thought out, every word chosen with purpose.

He has a unique vision that shines through in everything he does.

Whether it's a painting, a sculpture, or a piece of writing, Roth's work is always of the highest quality.

He has a talent for bringing his ideas to life in a way that is both beautiful and engaging.

His work has the power to inspire and move people, to make them think and feel.

Roth is truly an artist in every sense of the word, and his work will continue to be admired and studied for generations to come.

This is an unconventional book.

Although theoretically a memoir, it commences with a letter penned by the author to one of his recurring characters and concludes with the former's response.

The Facts is a segment of a protracted battle between Philip Roth and a fraction of his readership. Roth is an extremely autobiographical author, to a greater extent than most. And a portion of his readership correlates his novels with autobiographical writing. This implies that if Zuckerman did something, then Roth experienced it.

In this book, Roth endeavors to demonstrate that his life does not mirror the actions in his book. Here, he states, "I lived this, see, and in my novel I altered it in this way." Well, in my opinion, neither side is completely right or wrong.

It is a complex and thought-provoking exploration of the relationship between an author's life and his fictional works.

Roth's attempt to clarify this distinction adds another layer of depth to his already rich body of literature.

Readers are left to ponder the true nature of the connection between fact and fiction in Roth's writing.

Perhaps this book will encourage them to view his works from a new perspective.

I'm an enormous Roth enthusiast, so it was with great anticipation that I embarked on one of the few books of his that I had yet to peruse. I'm not let down, but I do find myself wondering if the Roth of the late 1990s or perhaps around 2010, when he completed his "Nemeses" series, wouldn't have penned a vastly different work.

Even by the conclusion of the book, this autobiography seems uneasy within its genre, let alone the act of nonfiction self-analysis that Roth appears to contend he was compelled to undertake at this juncture of his literary career, in the late 1980s, following his series of mostly-excellent Zuckerman novels. He still has to respond to "Portnoy's Complaint," to justify that he isn't Portnoy himself, or Zuckerman, or any of his other protagonists. He still has to argue against his so-called "Jewish self-hatred," which is to say, argue against himself - at least, this is how Roth seems to present it.

This autobiography commences with Roth asking Zuckerman to read his manuscript, which chronicles his life up until the publication of "Portnoy." So, it covers his life until his late thirties, skipping or disregarding the twenty years that follow. In the years 0 - 37ish, we get the sense - as Zuckerman points out in the book's final section, his response to Roth's request for a comprehensive reading of the manuscript - that Roth is omitting a significant portion of the story. As Zuckerman remarks, what drove Roth to write, to move away from his family, etc., other than a sense of his favorite word - "away"? Who is he truly, that his conscience will not permit him to disclose in his "autobiography" what he can only reveal through the act of narrative fiction?

In a sense, the entire last section of the book, written by Zuckerman and with input from his then-wife Maria, is simultaneously a meta-analysis of Roth's fiction, the writer's need to hide behind the guise of fiction while also revealing as much about themselves through the imaginative act to their readers, and a great, big ol' F.U. to those eager to know the sordid secrets of Roth's life. To use the favorite word of Roth's first wife, it's a "wicked" ending, one in which, in the matter of a single postscript to Roth, Zuckerman expresses his concern for Roth - and his own well-being as a fictional character - due to Roth's recent near mental and physical breakdown.

Then, after 195 pages, the book concludes.

It's a decent read, well-written albeit at times overly written in prose, and a remarkable work of writing about writing.

Yet, I still feel inclined to ask Roth, "Dude, can't you just write about what you have for breakfast or the nuts and bolts of your own creative process?"

Of course, that's one of Zuckerman's wife's critiques of the book as well.

Roth's work truly drew this reader into his rather unconventional "autobiography."

By the time I reached the end, I found myself in a state of uncertainty. I questioned whether what we commonly refer to as memoir or autobiography is even achievable in the way we typically understand those terms.

This work presents a short version of the fundamental facts about Roth's life, specifically his upbringing in a Jewish neighborhood in Newark during the 1930s and 1940s.

It's clearly not the entire story, but it's intended to be genuine, right?

Well, not really. Not exactly.

At the conclusion, Roth's often-seen alter ego, Nathan Zuckerman - who, if you've followed Roth's fiction, can only be Roth himself - provides a lengthy critique of the shortcomings of "The Facts."

Who is the writer? For goodness' sake, who is the reader?

Can a fictional character offer an essay on the works of his creator?

What did it signify for Roth to sit at his desk in rural Connecticut and meticulously depict these individuals: Roth the memoirist, Zuckerman the superego, and poor me, the reader?

Because this book also brings to mind me, attempting to understand all of this.

A preview: Roth's book "The Counterlife" is of a similar nature.

In the early chapters, I have reviewed so much of "The Plot Against America." It is a wonderful book to read, but only after having read Roth's earlier writings.

This novel presents a fascinating alternate history that challenges our understanding of the past and makes us think about the possibilities that could have been.

The story is filled with complex characters and intricate plotlines that keep the reader engaged from beginning to end.

Roth's writing style is vivid and descriptive, allowing us to fully immerse ourselves in the world he has created.

Overall, "The Plot Against America" is a must-read for fans of historical fiction and anyone interested in exploring different perspectives on American history.

This is an autobiography that Philip Roth wrote in 1988, after "The Counterlife", for those who are familiar with the author's works.

It is highly not recommended for non-fans and those who haven't read at least some of the novels with Zuckerman, especially "My Life as a Man" and "When She Was Good" (alas), of which there are major spoilers here.

The book deals with 4 main themes:

- Childhood or relationship with parents

- Years of study and maturation

- Relationships with women

- Relationships with the Jewish community

As an autobiography, "The Facts" is really of little value. For example, sex is never mentioned. Roth without sex, what kind of thing is that? It is clear that "The Facts" deceives us, hides, says what it wants about what it wants, but on page 170 comes the crazy twist of which I will say nothing so as not to spoil your reading.

And there I said damn it Phil Damn it yes you did it to me again, what a wonderful writer you have been. As an autobiographer, you are a damned one, but at a low level, you are the king of American narrative. Filippo my love, I love you so much. 4 full stars.

Ajuste de cuentas con su primera mujer. This is a significant event that likely holds great importance in the lives of those involved. The situation might have been complex and filled with emotions.

Termina con una magnífica carta reproche de Zuckerman a Philip Roth. The letter seems to be a powerful expression of Zuckerman's feelings towards Roth. It could be a result of their past relationship or some specific incidents that led to this reproach.

Perhaps the adjustment of accounts was a long-overdue process, and the letter was the final act in this drama. It might have contained deep-seated grievances, unspoken words, and a need for closure. The magnificence of the letter could lie in its honesty, passion, and the way it captures the essence of their relationship.

Overall, this story of ajuste de cuentas and the carta reproche is a fascinating one, full of mystery and intrigue. It leaves us wondering about the details of their relationship and the impact this event had on their lives.

The logical book to read after Roth Unbound is Roth's own account of some of the key moments in his early life.

This book is book-ended by letters between Roth and his fictional creation Nathan Zuckerman.

It offers a unique perspective on Roth's development as a writer and a person.

Readers will gain insights into the events and experiences that shaped his work and influenced his literary style.

The letters add an extra layer of depth and complexity to the narrative, as they allow Roth to explore his relationship with his fictional character and the creative process itself.

Overall, this book is a must-read for fans of Roth's work and anyone interested in the intersection of literature and life.

So many better reviews here than I could write!

Therefore, I will simply state that after perusing Roth's 9 Zuckerman books, it was extremely captivating to read "the facts" regarding Roth's own life as he perceived them or desired to present them, and THEN - Zuckerman's critique of this autobiography. It was very clever indeed!

I do, at times, find Roth's sentences rather difficult to decipher and even think he could be a bit less verbose. However, overall, he had a brilliant mind. This book was penned in 1988, and had he written it later in his life, it would have been even more fascinating.

Perhaps he would have had more experiences to draw from, more perspectives to offer, and a deeper understanding of himself and the world around him. It makes one wonder what additional insights and revelations might have been included in a later version of this autobiographical work.

Nonetheless, as it stands, the book provides a unique and engaging look into Roth's life and the creative process that gave birth to his beloved Zuckerman character.

In his unique autobiographical work titled “The Facts,” the great Philip Roth systematically avoids writing about his own biography. No matter how hard he tries, the results are not exactly what is expected. Not because he cannot achieve the literary goals he initially sets – but because his aim remains different.

The immediate consequence of this fact is simple: Whoever buys the book to learn more about the man behind the myth, I think, will be disappointed, as it should be. Let me explain.

Roth knows very well the psychology of his audience, his readers (at least the majority). They are the ones who, by reading the works of the writer, have felt a strong identification with the characters and the author. They are the ones who then seek a more substantial approach to the man behind the work. Admiration for the creator is, after all, a human reaction, the well-intentioned would claim. Of course, the fact that it is human does not necessarily make it correct.

Roth knew the game of publicity inside out, given that he was a star writer, even a writer of “provocative” books, who was bombarded from all sides throughout his long and successful career. This fact makes him extremely stingy in what and how he will reveal, and, above all, what he will not. It is precisely this “no” that has particular value and requires further commentary.

It does not take long for the attentive reader to understand that Roth is not really interested in making monumental revelations. Not because in the intermediate – purely autobiographical chapters – he does not talk about his past. His parents, his relatives, the Jewish circle of Newark, his adolescence, his adult life, his academic and literary career, his relationships, his marriages, are all there. At least all those to which he has decided to refer extensively.

There is nothing behind the writer except the writer himself, Roth claims. And he proves it by starting and ending “The Facts” (the ironic title) with two letters, to and from his fictional alter ego, the famous Zuckerman. This is a clear stance: nothing is going to disrupt the horizon of events of his fictional world. Nothing is more important than the writer’s invention, his creative imagination that interacts with his life, and incidentally with his readers, through his literary existence. The fact that everything real (the main body of the book) is inserted between two letters to and from some fictional character is both a purpose and a statement: In the middle is life, but in the beginning and in the end is fiction.

Roth’s autobiography is the beginning of a literary creation. The writer deliberately displaces the man. More truth is hidden in the questions that Zuckerman asks Roth at the end of the book than in the middle where Roth is revealed. This does not mean that the writer is willingly lying, deliberately falsifying the facts. But, like every capable storyteller, he knows that “The Facts” (except for dates or other recorded details), are in reality memories, interpretations, perceptions, and choices. This is an insurmountable obstacle that initially nullifies the reader’s urge for truth. What he will read may not be lies, but they remain the truth of a fantastic creator.

Roth is a smart man and a writer, and therefore he is aware that his important work is clearly more interesting than the life that inspired it. At this level, he operates in complete contrast to the large mass of artists who prove to be much more interesting as people than their work. Or even those who have made their life a work of art (the movie “Henry Fool” by Hal Hartley comes to mind, but also in the field of literature, B. Sertz, etc.), the great adventurers, explorers, daredevils. At one point, Roth explains, closing his eyes again, that there is nothing interesting in the life of a person who spends days and years entirely in front of a typewriter. The writer has chosen his battlefield: he belongs to those for whom their work is their highest interest, their unique concern, the furthest limit of their abilities, to which they have chosen to dedicate their lives. And if he applies this principle to himself, how can we expect him to be more lenient with the unseen public that surrounds him?

The artist defamiliarizes (according to the teachings of V. Shklovsky) the existing, presents it as he perceives it and not as he knows it, removing the patina that habit has added. As a result, “art becomes the only way to experience the artistic quality of an object. The object itself is indifferent.” Even if the “object” is his own life, the artist cannot resist the temptation to defamiliarize it, achieving the eternal goal of art: ars longa in contrast to the limited life. What can interest the reader? Perhaps not what concerns the creator. Roth chooses a role: and shows a clear preference for that of the writer. The one who shapes the material, gives it life and presents it intact to his public, not caring about the continuation.

As for me, he completely achieved his goal. At no moment – especially after the introductory chapter of the letter to Zuckerman – did I have the illusion that I was reading an autobiographical book. The charming twist in all the possible photographic reproductions of his life, of course, came with the final letter that radically overturns everything that precedes, leaving me with the wonderful feeling that I had read yet another excellent novel by Roth with himself as the hero. And if these sound exaggerated, I think my analysis is not arbitrary, and that this was precisely the writer’s goal. Especially since we take into account his previous…unscrupulous life and the comic dimension that inhabits even the most dramatic pages of the book. It would be unthinkable for him to miss the opportunity to play again with all those “in the game” that fascinated him as a writer.

If you are a creative being who conceives plots and weaves stories with the lives of others, how can you not throw yourself into the first line, sacrificing yourself to the characters of fiction? If you have only one life, being determined to make it fodder for art, you would be cowardly to let the…Facts interfere, altering the supreme work of art: the recreation of yourself, with the prize – absolute vanity! – of Great Immortality.

Dietro la maschera

As he spoke, I thought: "In what kind of stories does people transform life, in what kind of lives does people transform stories". [Nathan Zuckerman, in La controvita]

L'antefatto
Finally mine!*
I start right away, seized by an uncontrollable literary greed :-)
I'm becoming more and more convinced that this man has something genius in him, a natural gift for writing and the sacred right to be awarded a Nobel!

Il commento
I read this autobiography (novelized?) of Philip Roth and I realize that, despite a lot had happened, at the time it was published nothing had happened yet. Written in 1989, in the middle of the author's literary path, and thus long before the successes of the Trilogy Americana (Pastorale americana, Ho sposato un comunista, La macchia umana), of the long series of National Book Awards, of the Pulitzer Prize and even before seeing his entire literary work published by the Library of America, but with already behind the success of Lamento di Portnoy, Philip Roth already had a lot to tell. He does it in his own way, with apparent cynicism (when he talks about his love affairs, which then led to a dramatic marital relationship and in which he will be stuck for a long time) and with a poorly hidden sweetness (when he describes with few but meaningful words the relationship with his parents, especially with his father, with his brother and of his father with his uncle), retracing his path of studies, his professional start and finally the beginnings of his career as a writer. The plot, in which his alter ego Nathan Zuckerman participates from the beginning, is worthy of the life of one of the greatest novelists of this century: the Jewishness that pervades this book is precisely what distinguishes it and makes it its strength. Roth, even accused of anti-Semitism, is Jewish, as he himself says, without realizing it, just as he is American to the core. Philip Roth is Nathan Zuckerman, Philip Roth is Peter Tarnopol, Philip Roth is Alex Portnoy, Philip Roth is David Kepesh, Philip Roth is Philip Roth, Jewish and American: one, none and a hundred thousand.

*(in fact no: borrowed from the library!)