English writer (1946- )
In order to write the novel I’m committed to, I have to pretend that it’s not only separate from everything I’ve written before, but also separate from anything anyone in the history of the universe has written. This is a grotesque delusion and a crass vanity, but also a creative necessity.
JULIAN BARNES
The Paris Review, winter 2000
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
How do you turn catastrophe into art? Nowadays the process is automatic. A nuclear plant explodes? We'll have a play on the London stage within a year. A President is assissinated? You can have the book or the film or the filmed book or booked film. War? Send in the novelists. A series of gruesome murders? Listen for the tramp of the poets. We have to understand it, of course, this catastrophe; to understand it, we have to imagine it, so we need the imaginative arts. But we also need to justify it and forgive it, this catastrophe, however minimally. Why did it happen, this mad act of Nature, this crazed human moment? Well, at least it produced art. Perhaps, in the end, that's what catastrophe is for.
JULIAN BARNES
A History of the World in 10 1/2 Chapters
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
They are scarcely adult, some men: they wish women to understand them, and to that end they tell them all their secrets; and then, when they are properly understood, they hate their women for understanding them.
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
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
Happiness lies in the imagination, not the act. Pleasure is found first in anticipation, later in memory.
JULIAN BARNES
Flaubert's Parrot
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
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
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
Women scheme when they are weak, they lie out of fear. Men scheme when they are strong, they lie out of arrogance.
JULIAN BARNES
Flaubert's Parrot
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
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's easy, after all, not to be a writer. Most people aren't writers, and very little harm comes to them.
JULIAN BARNES
Flaubert's Parrot
Opera cuts to the chase--as death does. An art which seeks, more obviously than any other form, to break your heart.
JULIAN BARNES
Levels of Life
The writer must be universal in sympathy and an outcast by nature: only then can he see clearly.
JULIAN BARNES
Flaubert's Parrot
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
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