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Books : Literature & Fiction : Authors, A-Z : ( B ) : Barnes, Julian
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Two years after the best-selling Arthur & George, Julian Barnes gives us a memoir on mortality that touches on faith and science and family as well as a rich array of exemplary figures who over the centuries have confronted the same questions he now poses about the most basic fact of life: its inevitable extinction.
If the fear of death is “the most rational thing in the world,” how does one contend with it? An atheist at twenty, an agnostic at sixty, Barnes looks into the various arguments for and against and with God, and at the bloodline whose archivist, following his parents’ death, he has become—another realm of mystery, wherein a drawer of mementos and his own memories (not to mention those of his philosopher brother) often fail to connect. There are other ancestors, too: the writers—“most of them dead, and quite a few of them French”—who are his daily companions, supplemented by composers and theologians and scientists whose similar explorations are woven into this account with an exhilarating breadth of intellect and felicity of spirit.
Deadly serious, masterfully playful, and surprisingly hilarious, Nothing to Be Frightened Of is a riveting display of how this supremely gifted writer goes about his business and a highly personal tour of the human condition and what might follow the final diagnosis.
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In his widely acclaimed new collection of stories, Julian Barnes addresses what is perhaps the most poignant aspect of the human condition: growing old.
The characters in The Lemon Table are facing the ends of their lives–some with bitter regret, others with resignation, and others still with defiant rage. Their circumstances are just as varied as their responses. In 19th-century Sweden, three brief conversations provide the basis for a lifetime of longing. In today’s England, a retired army major heads into the city for his regimental dinner–and his annual appointment with a professional lady named Babs. Somewhere nearby, a devoted wife calms (or perhaps torments) her ailing husband by reading him recipes.
In stories brimming with life and our desire to hang on to it one way or another, Barnes proves himself by turns wise, funny, clever, and profound–a writer of astonishing powers of empathy and invention.
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This is, in short, a complete, unsettling, and frequently exhilarating vision of the world, starting with the voyage of Noah's ark and ending with a sneak preview of heaven!
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As Julian Barnes writes in the introduction to his superb translation of Alphonse Daudet’s La Doulou, the mostly forgotten writer nowadays “ate at the top literary table” during his lifetime (1840–1897). Henry James described him as “the happiest novelist” and “the most charming story-teller” of his day. Yet if Daudet dined in the highest company, he was also “a member of a less enviable nineteenth-century French club: that of literary syphilitics.” In the Land of Pain—notes toward a book never written—is his timelessly resonant response to the disease.
In quick, sharp, unflinching strokes of his pen, Daudet wrote about his symptoms (“This is me: the one-man-band of pain”) and his treatments (“Mor-phine nights . . . thick black waves, sleepless on the surface of life, the void beneath”); about his fears and reflections (“Pain, you must be everything for me. Let me find in you all those foreign lands you will not let me visit. Be my philosophy, be my science”); his impressions of the patients, himself included, and their strange life at curative baths and spas (“Russians, both men and women, go into the baths naked . . . Alarm among the Southerners”); and about the “clever way in which death cuts us down, but makes it look like just a thinning-out.”
Given Barnes’s crystalline translation, these notes comprise a record—at once shattering and lighthearted, haunting and beguiling—of both the banal and the transformative experience of physical suffering, and a testament to the complex resiliency of the human spirit.
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In this powerfully affecting Flaubert's Parrot gives readers a brilliant take on the deceptions that make up the quivering substrata of erotic love. "An interplay of serious thought and dazzling wit. . . . It's moving, it's funny, it's frightening . . . fiction at its best."--New York Times Book Review.
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Anyone who loves France (or just feels strongly about it), or has succumbed to the spell of Julian Barnes’s previous books, will be enraptured by this collection of essays on the country and its culture.
Barnes’s appreciation extends from France’s vanishing peasantry to its hyper-literate pop singers, from the gleeful iconoclasm of nouvelle vague cinema to the orgy of drugs and suffering that is the Tour de France. Above all, Barnes is an unparalleled connoisseur of French writing and writers. Here are the prolific and priapic Simenon, Baudelaire, Sand and Sartre, and several dazzling excursions on the prickly genius of Flaubert. Lively yet discriminating in its enthusiasm, seemingly infinite in its range of reference, and written in prose as stylish as haute couture, Something to Declare is an unadulterated joy.
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Not many people can claim to have invented a new science, but Aristotle invented two: zoology and logic. More than two millennia after his death, Aristotle’s thought still influences us. Here, over coffee (a drink Aristotle never tasted), he converses with refreshing and illuminating simplicity about everything from causation and deduction to the role of women and the wonders of the natural world in a pre-scientific age.
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At the start of this fiendishly comic and suspenseful novel, a mild-mannered English academic chuckles as he watches his wife commit adultery. The action takes place before she met him. But lines between film and reality, past and present become terrifyingly blurred in this sad and funny tour de force from the author of Flaubert's Parrot.
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With brilliant wit, idiosyncratic intelligence, and a bold grasp of intricate political realities, the celebrated author of Flaubert's Parrot turns his satiric glance homeward to England, in a sparkling collection of essays that illustrates the infinite variety of contemporary London life.
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In his first collection of short stories, Barnes explores the narrow body of water containing the vast sea of prejudice and misapprehension which lies between England and France with acuity humor, and compassion. For whether Barnes's English characters come to France as conquerors or hostages, laborers, athletes, or aesthetes, what they discover, alongside rich food and barbarous sexual and religious practices, is their own ineradicable Englishness. The ten stories that make up Cross Channel introduce us to a plethora of intriguing, original, and sometimes ill-fated characters. Elegantly conceived and seductively written, Cross Channel is further evidence of Barnes's wizardry.
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Perhaps no one loves France as much as the English--at least some of the English--and Richard Cobb, the incomparable Oxford historian of the French Revolution, was a passionate admirer of the country, a connoisseur of the low dive and the flophouse, as well as a longtime familiar of the quays of Paris and the docks of Le Havre and Marseille. Collecting memoirs, portraits of favorite haunts, appreciations of Simenon and Queneau, Rene Clair and Brassai, and including the famous polemic "The Assassination of Paris," Paris and Elsewhere shows us a France unglimpsed by tourists.
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