The fictional parts of the facts have a certain charm that always manages to bring a smile to my face.

It's as if they are little surprises hidden within the otherwise ordinary narrative. These fictional elements add a touch of magic and creativity, making the story more engaging and entertaining.

They allow our imaginations to run wild and explore possibilities that might not exist in the real world. Whether it's a fantastical creature, an unlikely event, or a humorous twist, the fictional parts have the power to lighten our mood and make us forget about the stresses of daily life.

They remind us that sometimes, it's okay to step out of the realm of reality and embrace the joy and wonder that fiction can offer. So, the next time you come across the fictional parts of a story, don't be too quick to dismiss them. Instead, let them bring a smile to your face and enjoy the unique experience they provide.

Roth in a pure state. It is a kind of fictionalized-autobiographical novel. For those accustomed to his work, this book offers nothing new. Everything written had already been said before, in one way or another, in his previous works.

Finally, the imaginary correspondence between Roth and Zuckerman is superfluous and becomes overly secondary.

Perhaps Roth was trying to explore new territory, but in this case, he seems to have fallen short. The story lacks the depth and innovation that his earlier works were known for.

It's as if he was recycling old ideas and presenting them in a slightly different package. While there may be some redeeming qualities, overall, this book fails to live up to the expectations set by his previous body of work.

It remains to be seen if Roth will be able to recapture his former glory and produce something truly remarkable in the future.

A Rambling Review of Events with Confessions and Apologies for a Young Mr. Roth

This piece seems to be a rather unstructured and perhaps overly personal account. It starts off with a rambling nature, making it a bit of a challenge for the reader to follow the thread of thought. The confessions and apologies directed at a young Mr. Roth add an element of mystery, but without much context, it's difficult to fully understand their significance. The overall tone comes across as uninteresting and disjointed, lacking a clear narrative arc or a central theme to hold the various events and ideas together. It might benefit from a more organized approach, perhaps by structuring the events chronologically or by highlighting the key points more clearly. As it stands, it feels like a random collection of thoughts and memories that don't quite come together to form a cohesive whole.

Nella sua parte prettamente autobiografica, è un libro ricco di spunti interessanti.

It is like a true and proper manual of instruction to the Roth-thinking.

The trade of the novelist presupposes a great deal of imaginative work. The main effort lies especially in adorning an actually happened fact with imaginary frills.

Roth decides to do the opposite work, that is, to conduct his autobiography by disimagining.

By purifying his past, stripping reality of imagination, trying to reach the truthfulness of every lived episode. The idea is to arrive at the facts.

But... is all this really possible?

Can a novelist reveal himself completely?

Tell about himself, simply adhering to the facts?

My hypothesis is that you have written so many metamorphoses of yourself that you no longer know either who you are or who you have been.

The complete version is here: http://startfromscratchblog.blogspot....

This exploration into Roth's autobiographical work is both fascinating and thought-provoking. It makes us question the very nature of truth and self-presentation in literature. As we delve deeper into his attempt to strip away the layers of imagination and get to the core of his experiences, we are left wondering if such a feat is truly achievable. The idea of a novelist, known for their creative flights of fancy, trying to present a completely unadorned version of themselves is a bold and ambitious one. It challenges our preconceived notions about the role of the author and the relationship between fact and fiction in autobiographical writing.

I admit that I had never read Roth before because I have had very bad experiences with American novelists. And of course, I don't have the audacity to think that I will criticize him here, facing him. I will simply express the feeling that I got from reading this "autobiography" that was written in 1988 when he was 50 and which, in my opinion, was written rather overly early in the author's life and was also published in Greek overly late.

When I finished the prologue, I was amazed by the complex reasoning and the depth of the personal analysis and, consequently, very positively disposed towards the following chapters that deal with specific events in his life. However, as I continued reading, I continued to have the feeling of over-analysis for nothing, that is, a self-analyzing author for common and everyday events and ultimately extremely boring. The feeling of nothingness, the lack of a dramatic climax, and also the complete lack of humor and self-mockery, which Roth claimed that all Jews have in their own way and more widely, constantly surprised me. Having read truly shocking autobiographies, I admit that this one did not confirm my initial expectations. And indeed, the last chapter confirmed my suspicions but also ended up reconciling me with the author's attempt because he began through his literary alter ego to judge his own analysis and criticize it, showing me that Philip Roth had at least the necessary critical spirit to understand the gaps in his narrative and to indirectly but clearly mock them, ultimately leaving every interpretation open as to whether we ultimately read an autobiography or a fictional narrative. Personally, I think that a real autobiography written at 65 or 70 and completely detached from the multiple levels of his thinking that show that he was being influenced at 55 and was being pushed to create literary alter egos would be closer to my aesthetic criteria. Overall, however, my experience was positive and it clearly changed my opinion about American writers. I repeat at the end that I am very small and insignificant for a serious criticism against him, I simply conveyed the feeling that I had while reading him.

4.5 stars

Well, this is precisely what sets him apart as a master.

I finally got around to reading Roth earlier this year with "American Pastoral," and "Portnoy’s Complaint" has been sitting on my shelf. When I perused the description of this autobiography, I was immediately intrigued and made up my mind to read it.

The initial couple of chapters were charming, paying homage to his family, friends, and neighborhood.

However, then he delved into writing about his first wife and just didn't stop. It soon became infuriating. As bad as this woman might have been, his egotistical chauvinism was simply overbearing. Even though there was an acknowledgement of the damaged life she came from, there was not a shred of compassion. None at all.

And then... there is his letter from one of his long-running characters, reviewing his autobiography. What a stunningly clever reversal of the entire book. Zuckerman undoes Roth in a way that, I suppose, only one's fictional creation can. It's truly worth reading this book just to witness this relationship, even if you know nothing about Philip Roth and have never read his works before.

Moreover, it's worth pondering over what Zuckerman says about sharing reality versus sharing fiction. Are we better served by fictionalized truth? Does fiction enable a brutally incisive look that humans are simply unable to bear when it comes to the facts of their own lives? In what is ostensibly supposed to be a simple recounting of his life, Roth turns the very form of autobiography on its head by examining these questions in an inimitable manner.

How does a novelist write about the facts of his life after spending years fictionalising those facts with irrepressible daring and originality?

This is a question that Philip Roth, a renowned novelist, attempts to answer in his unconventional autobiography. Roth fearlessly used his own life as material for his work, which makes reading his autobiography all the more intriguing.

In The Facts, he highlights five significant episodes of his life, spanning from his childhood in the 1930s to the publication of Portnoy's Complaint in the 1960s. He vividly describes his secure childhood, his educational journey, his early works, and his first marriage.

What makes the end of the book particularly unique is that his famous fictional self, Nathan Zuckerman, critiques his autobiography. This adds an interesting layer to the work, blurring the lines between life and fiction.

Overall, The Facts is a remarkable work that explores the power of imagination, the intersection of life/truth and art/fiction. It offers readers a fascinating glimpse into the mind of a great novelist and his complex relationship with his own life.

Brutal!

It is not a simple autobiography, no. It is a unique combination of autobiography and autofiction.

This work blurs the boundaries between reality and imagination, presenting a complex and multi-faceted narrative.

The author delves deep into their own experiences, emotions, and thoughts, yet also weaves in fictional elements to add depth and texture.

It is a bold and innovative approach that challenges the traditional concept of autobiography.

Readers will be captivated by the raw and honest portrayal of the author's life, while also being intrigued by the fictional twists and turns.

Brutal! is a must-read for those who are interested in exploring the intersection of truth and fiction in literature.

It offers a fresh perspective on the genre of autobiography and leaves a lasting impression on the reader.

Do Roth had only read " Património", a book about his father's old age and his physical and psychological decline.

He was so often pointed out as a future Nobel laureate, but died without being chosen for the highly coveted award.

This book, written after a depression suffered following a serious surgery that left him on the verge of death, reveals a need that the author felt to take a break in his fiction writing and tell his life story.

It begins with a letter to his character from several books, the Jew Zuckerman, asking for his opinion on the manuscript of this book, and ends with Zuckerman's response that deconstructs and demolishes the book and among other things tells him: "With this book, you tied your hands behind your back and tried to write it with your feet".

Philip Roth was not very sure about the opportunity to write his autobiography, nor was he convinced in the end that he had been sincere in telling his life: "To a certain extent, we always count to not count".

I don't give 5 stars but I give 4.5.

I may read some of his fiction.

Património - 4* - March 2012

An Autobiography of the Writer with a Touch of Fiction

I am a writer, a storyteller who weaves words into magical tapestries. My life has been a journey filled with countless experiences, both ordinary and extraordinary.

I was born into a world of books and imagination. From an early age, I was captivated by the power of words and the ability to create entire universes with just a pen and paper.

As I grew older, my love for writing only deepened. I spent countless hours lost in my own thoughts, penning down my dreams, fears, and hopes.

My writing has taken me on many adventures. I have traveled to far-off lands, met fascinating people, and witnessed events that have changed my perspective on life.

But my writing is not just a reflection of my own experiences. It is also a blend of fiction and reality, a way for me to explore the human condition and the mysteries of the world around us.

Through my words, I hope to inspire others, to make them laugh, cry, and think. I want to create a connection with my readers, to share my stories and in turn, hear theirs.

This is my autobiography, a journey through the mind of a writer, with a touch of fiction to add a sprinkle of magic.

Until the last chapter, it progresses like a competently written autobiography. The story unfolds in a smooth and engaging manner, captivating the reader's attention from start to finish. The author's writing style is clear and concise, making it easy to follow the events and understand the characters.

The last chapter, however, takes the book to a whole new level. It elevates the book to four stars and showcases what Roth was truly capable of. In this chapter, Roth delves deeper into the themes and emotions explored throughout the book, providing a more profound and thought-provoking conclusion. The writing becomes more powerful and evocative, leaving a lasting impression on the reader.

Overall, the book is a testament to Roth's talent as a writer. It is a well-crafted and engaging work that will appeal to fans of autobiography and literature alike. Whether you are looking for an entertaining read or a deeper exploration of the human condition, this book has something to offer.

Roth writes his autobiography through a letter addressed to Nathan Zuckerman, his alter ego and also the protagonist of some of his novels. It is a different, atypical autobiography that unfolds in five points, which are the main themes of his life as a novelist, but above all his life as a man.

In a journey that goes from the relationship with his parents, a very sweet relationship, but also overly protective that kept him in a glass bubble, to his first successes, at university and up to the Jewish establishment and then to his emotional relationships, including that with Josie, whose death is a relief for him, we get to know Roth's thoughts.

If you were expecting the usual autobiography, I'm sorry to disappoint you, this is not the novel for you.

This is the unconventional autobiography of a writer, but above all of a man that I have learned to appreciate and love.