THE FACTS: A NOVELIST'S AUTOBIOGRAPHY by Philip Roth (1988)

Read by . . : Mel Foster
Publisher . : Brilliance Audio (2010)
ISBN . . . .: 1441805702 | 9781441805706
Format . . .: MP3. 20 tracks, 251 MB
Bitrate . . : ~100 kbps (iTunes 10, VBR (highest), Mono, 44.1 kHz)
Source . . .: 6 CDs (6hrs 40min)
Genre . . . : Nonfiction, Biography, Memoir
Unabridged .: Unabridged

Combined tracks by chapter.
Nicely tagged and labeled, cover scan included.

Note:  Yet another Brilliance Audio production fail; 
as always, 99 tracks per CD, random breaks, idi0ts.

Thanks for sharing & caring.
Cheers, FerraBit
Dec 2010


 Links: 
https://en.wikipedia.org/wiki/Philip_Roth 
https://en.wikipedia.org/wiki/The_Facts:_A_Novelist's_Autobiography

 Originally posted:                                                          
https://piratebayproxy.live/user/FerraBit (TPB), Demonoid, KickAssTorrents
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______________________________________

From BrillianceAudio.com:

The Facts is the unconventional autobiography of a writer who has 
reshaped our idea of fiction — a work of compelling candor and inventiveness, 
instructive particularly in its revelation of the interplay between life and 
art. Philip Roth concentrates on five episodes from his life: his secure 
city childhood in the thirties and forties; his education in American life 
at a conventional college in the fifties; his passionate entanglement, as an 
ambitious young man, with the angriest person he ever met (the “girl of my 
dreams” Roth calls her); his clash, as a fledgling writer, with a Jewish 
establishment outraged by Goodbye, Columbus; and his discovery, in the 
excesses of the sixties, of an unmined side to his talent that led him to 
write Portnoy’s Complaint. The audiobook concludes surprisingly — in true 
Rothian fashion — with a sustained assault by the novelist against his 
proficiencies as an autobiographer.    

From Wiki:

A book by Philip Roth that traces his life from his childhood in Newark, 
New Jersey to becoming a successful, widely respected novelist. The 
autobiographical section is bookended by two letters, one from Roth to his 
fictional alter-ego Nathan Zuckerman, the other from Zuckerman himself, 
telling Roth what he sees as problems with the book.

Roth interlaces the present with the past and remote past. 
The book is divided into six chapters:

 "Prologue" (About his father)
 "Safe at Home" (Growing up in a Jewish neighborhood)
 "Joe College" (College life, first love)
 "Girl of My Dreams" (Chicago years, the woman who became his first wife)
 "All in the Family" (Defending against Jewish community attacks on his writing)
 "Now Vee May Perhaps to Begin" (His divorce and death of his first wife)


From Publishers Weekly:

By offering his memoirs plus a critique of same penned by his alter ego Nathan 
Zuckerman, Roth here undermines the autobiographical genre as he derailed 
fictional conventions in The Counterlife. Roth lays bare his private lifeor 
obscures the really juicy parts because, as Zuckerman says, autobiography may 
indeed be "the most manipulative of all literary forms." He also manages to 
beat those nasty book reviewers to the punch, because Zuckerman is the first 
to recognize that "this isn't you at your most interesting." Bathed here in a 
quasi-nostalgic glow, the writer's youth and college years are pretty tame; 
Roth is smart, loquacious but quite the good Jewish boy. The book becomes much 
more energetic and absorbing when Roth describes his self-destructive 
relationship with "Josie," a woman who bought a urine specimen from a pregnant 
black stranger in a park in order to bully Roth into marrying her (which he 
does after insisting on an abortion), and whom Roth calls "the greatest 
creative-writing teacher of them all, specialist par excellence in the 
aesthetics of extremist fiction." 

Another unlikely font for his imagination was the Jewish community; the uproar 
over Goodbye, Columbus helped to fuel Portnoy's Complaint and the Zuckerman 
series. Despite their weaknesses, these reflections would stand even on their 
own as perspicacious insights by a past master of fiction on a writer's 
beginnings, quest for freedom and creative muses. With the Zuckerman add-on, 
the book becomes a unique demonstration of the superiority of fiction over 
autobiography as an uninhibited, introspective, self-confrontive form.