English writer (1946- )
You can put it another way, of course; you always can.
JULIAN BARNES
The Sense of an Ending
When you read a great book, you don’t escape from life, you plunge deeper into it. There may be a superficial escape – into different countries, mores, speech patterns – but what you are essentially doing is furthering your understanding of life’s subtleties, paradoxes, joys, pains and truths. Reading and life are not separate but symbiotic.
JULIAN BARNES
A Life with Books
We live in time - it holds us and molds us - but I never felt I understood it very well. And I'm not referring to theories about how it bends and doubles back, or may exist elsewhere in parallel versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly: tick-tock, click-clock. Is there anything more plausible than a second hand? And yet it takes only the smallest pleasure or pain to teach us time's malleability. Some emotions speed it up, others slow it down; occasionally, it seems to go missing - until the eventual point when it really does go missing, never to return.
JULIAN BARNES
The Sense of an Ending
Irony - The modern mode: either the devil’s mark or the snorkel of sanity.
JULIAN BARNES
Flaubert's Parrot
In Britain I’m sometimes regarded as a suspiciously Europeanized writer, who has this rather dubious French influence. But if you try that line in Europe, especially in France, they say, Oh, no! You’re so English! I think I’m probably anchored somewhere in the Channel.
JULIAN BARNES
interview, The Paris Review, winter 2000
Playing Cupid, I should have you know, isn’t just a matter of flying around Arcadia and feeling your tiny winkle throb when the lovers finally kiss. It’s to do with timetables and street maps, cinema times and menus, money and organisation. You have to be both jaunty cheerleader and lithe psychiatrist. You require the binary skill of being absent when present, and present when absent.
JULIAN BARNES
Talking It Over
This is I have to admit, one murky compartment of the female psyche which has yet to benefit from the oven-scourer of Reason.
JULIAN BARNES
Talking It Over
It never crosses my mind whether certain readers will like or dislike certain characters. They are who they are.
JULIAN BARNES
interview, The Guardian, January 29, 2018
It is an abnormal thing to want to be an artist, to practice an art. It is comparatively normal to practice an interpretative art. But to actually make things up is not something that, well, usually runs in families or is the recommendation of a career master.
JULIAN BARNES
interview, The Paris Review, winter 2000
Is recycling to do with global warming? Need you ask? Well, I only ask because we've been recycling for twenty years or so, and no one was talking about global warming back then.
JULIAN BARNES
Pulse
History isn't the lies of the victors, as I once glibly assured Old Joe Hunt; I know that now. It's more the memories of the survivors, most of whom are neither victorious or defeated.
JULIAN BARNES
The Sense of an Ending
The writer must be universal in sympathy and an outcast by nature: only then can he see clearly.
JULIAN BARNES
Flaubert's Parrot
When you're young ... you want your emotions to be like the ones you read about in books. You want them to overturn your life, create and define a new reality. Later, I think, you want them to do something milder, something more practical: you want them to support your life as it is and has become. You want them to tell you that things are OK.
JULIAN BARNES
The Sense of an Ending
Loving humanity means as much, and as little, as loving raindrops, or loving the Milky Way. You say that you love humanity? Are you sure you aren't treating yourself to easy self-congratulation, seeking approval, making certain you're on the right side?
JULIAN BARNES
Flaubert's Parrot
I was going to put my photograph in the front of the book. Not vanity; just trying to be helpful. But I'm afraid it was rather an old photograph, taken about ten years ago. I haven't got a more recent one. That's something you find: after a certain age, people stop photographing you. Or rather, they photograph you only on formal occasions: birthdays, weddings, Christmas. A flushed and jolly character raises his glass among friends and family -- how real, how reliable is that evidence? What would the photos of my twenty-fifth wedding anniversary have revealed? Certainly not the truth; so perhaps it's as well they were never taken.
JULIAN BARNES
Flaubert's Parrot
I know this much: that there is objective time, but also subjective time, the kind you wear on the inside of your wrist, next to where the pulse lies. And this personal time, which is the true time, is measured in your relationship to memory.
JULIAN BARNES
The Sense of an Ending
He didn't really like travel, of course. He liked the idea of travel, and the memory of travel, but not travel itself.
JULIAN BARNES
Flaubert's Parrot
How often do we tell our own life story? How often do we adjust, embellish, make sly cuts? And the longer life goes on, the fewer are those around to challenge our account, to remind us that our life is not our life, merely the story we have told about our life. Told to others, but--mainly--to ourselves.
JULIAN BARNES
The Sense of an Ending
The full-face portrait staring back at you hypnotises. Flaubert is usually looking away in his portraits and photographs. He's looking away so that you can't catch his eye; he's also looking away because what he can see over your shoulder is more interesting than your shoulder.
JULIAN BARNES
Flaubert's Parrot
He had a better mind and a more rigorous temperament than me; he thought logically, and then acted on the conclusion of logical thought. Whereas most of us, I suspect, do the opposite: we make an instinctive decision, then build up an infrastructure of reasoning to justify it. And call the result common sense.
JULIAN BARNES
The Sense of an Ending