That body is still new to her, she's still trying it out, thinking it through, a bit like a kid walking the streets with a loaded gun and deciding wh… - Philip Roth

It isn't that you subordinate your ideas to the force of the facts in autobiography but that you construct a sequence of stories to bind up the facts with a persuasive hypothesis that unravels your history's meaning.

""You'll always be powerless to this girl. You'll never be in charge. There's something there," George told me, "that makes you crazy and always will. If you don't cut the connection for good, in the end that something will destroy you. You're no longer merely answering natural need with her. This is the pathology in its purest form. Look," he told me, "see it as a critic, see it from a professional point of view. You violated the law of aesthetic distance. You sentimentalized the aesthetic experience with this girl — you personalized it, you sentimentalized it, and you lost the sense of separation essential to your enjoyment. Do you know when that happened? … I'm not against it because it's disgusting. I'm against it because it's falling in love. The only obsession everyone wants: 'love.' People think that in falling in love they make themselves whole? The Platonic union of souls? I think otherwise. I think you're whole before you begin. And the love fractures you. You're whole, and then you're cracked open.""

Obviously the facts are never just coming at you but are incorporated by an imagination that is formed by your previous experience. Memories of the past are not memories of facts but memories of your imaginings of the facts.