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Som pensionär får Tony Webster ärva ungdomsvännen Adrian Finns dagboksanteckningar från modern till sin gamla flickvän Veronica. Under skoltiden i 1960-talets England var de vänner, men allt tog slut när Adrian inledde ett förhållande med Veronica. Kort därefter tog Adrian sitt liv. Fyrtio år senare återser Tony Veronica.… (mer)
Cariola: Another brief but powerful novel that explores how our perceptions vary and memories change over time, as well as regrets over lost oppotunities. McEwan is, like Barnes, a master of words and character development. On Chesil Beach made the Booker short list in 2007--and should have won!… (mer)
BookshelfMonstrosity: These brief, intricately plotted novels are reflective, character-driven stories that examine a pivotal event from different perspectives. In a complex narrative that shifts between past and present, individuals who grew up in 1960s England discover that memory can be unreliable.… (mer)
Queenofcups: I found myself thinking of Murdoch's The Sea, The Sea as I read this book. There is some affinity in theme and story. Murdoch is expansive, where Barnes is elegant and economical. It won the Booker in 1978, and it's well worth another look.
sweetiegherkin: Two short and seemingly simple, quiet novels that both have a lot to unpack & would be good for book club to discuss the deeper meanings.
jayne_charles: Intelligently written account of an old guy reminiscing, with the added bonus in this case of an education in Balkan history along the way
I'm usually not much of one for that great literary subgenre of (SB)SBBB -- that's (Sometimes British) SchoolBoys Behaving Badly -- see Lord of the Flies, Old School, A Separate Peace, etc. etc. I did make an exception for Donna Tartt's The Secret History which had me completely enthralled from start to finish and now I think I'll make another, slightly lesser one for The Sense of an Ending.
The structure is hard to describe -- I guess it's what would be filed under "stream of consciousness" -- and largely consists of an older man reflecting on a failed relationship in his youth. Barnes is achingly right about so much of what he writes about memory, pain, and love (or at least, I think he's right) that I felt like I had to take a walk or do some kind of breathing exercises when I finished the book, I was so wound up. It's a short gallop from start to finish, and well worth your time. ( )
The Sense of an Ending is a wonderfully written, introspective, philosophical, deckle edge paperback that fits neatly in a purse. I should have loved it, and plenty of people did—it got the Man Booker prize, for goodness' sake—but, alas.
The myopic, "middle-aged" Tony reviews the important relationships of his early adulthood. He struggles for every morsel of insight he gets, but mostly, as former girlfriend Veronica says: "You just don't get it, do you? You never did, and you never will."
The unreliability of Tony's memory is his constant companion:...our life is not our life, merely the story we have told about our life.But not only is Tony's memory faulty, he doesn't have all the facts, and fitting the missing pieces into place provides the action of the novel.
In the end: There is accumulation. There is responsibility. And... There is great unrest. No transcendence. I think that's why I put the book down feeling depressed.
I picked up the gorgeous trade paperback (I already mentioned the deckle edges) at Goodwill.
Around the year in 52 books challenge notes: #51. A book with an "-ing" word in the title( )
I liked this so much, with Tony, the unreliable narrator--as I suppose many of us are, thanks to time and memory, and trying to make sense of our lives. ( )
Un libro del que sólo te gustan las últimas páginas supongo que es un libro que no te gusta, ¿no? Aunque todas las páginas anteriores sean necesarias... ( )
By now, The Sense of an Ending by Julian Barnes has gained itself a reputation for being the novel you must read twice.....
Nearly every paragraph in this book has multiple interpretations. Once all the questions are answered, the reader is left in the same state that Tony is in the book’s final pages—floored at life’s essential mysteries, and frustrated that they cannot be relived. Fortunately for us, we can just read the book again.
Barnes' work is one in which, event-wise, not a whole lot happens. Unless we’re talking about the events of the brain and the tricks of time and memory. If that's the case, then Barnes has impressively condensed an undertaking of biblical proportions into a mere 163 pages.
A man's closest-held beliefs about a friend, former lover and himself are undone in a subtly devastating novella from Barnes. It's an intense exploration of how we write our own histories and how our actions in moments of anger can have consequences that stretch across decades. The novel's narrator, Anthony, is in late middle age, and recalling friendships from adolescence and early adulthood. What at first seems like a polite meditation on childhood and memory leaves the reader asking difficult questions about how often we strive to paint ourselves in the best possible light.
tillagd av kthomp25 | ändraKirkus Reviews. (Nov. 1, 2011)
Information från den engelska sidan med allmänna fakta.Redigera om du vill anpassa till ditt språk.
for Pat
Inledande ord
Jag minns, utan inbördes ordning: - I remember, in no particular order: -a shiny inner wrist; -steam rising from a wet sink as a hot frying pan is laughingly tossed into it; -gouts of sperm circling a plughole, before being sluiced down the full length of a tall house; -a river rushing nonsensically upstream, its wave and wash lit by half a dozen chasing torchbeams; -another river, broad and grey, the direction of its flow disguised by a stiff wind exciting the surface; -bathwater long gone cold behind a locked door.
Citat
Information från den engelska sidan med allmänna fakta.Redigera om du vill anpassa till ditt språk.
"We could start perhaps with the seemingly simple question. What is History? Any thoughts, Webster? 'History is the lies of the victors,' I replied a little too quickly.' Yes, I was rather afraid you'd say that. Well as long as you remember that it is also the self-delusions of the defeated...' (p. 25, large print ed.)
We muddle along, we let life happen to us, we gradually build up a store of memories. There is the question of accumulation, but not in the sense that Adrian meant, just the simple adding up and adding on of life. And as the poet pointed out, there is a difference between addition and increase.
Indeed, isn’t the whole business of ascribing responsibility a kind of cop-out? We want to blame an individual so that everyone else is exculpated. Or we blame a historical process as a way of exonerating individuals. Or it’s all anarchic chaos, with the same consequence. It seems to be me that there is--was--a chain of individual responsibilities, all of which were necessary, but not so long a chain that everybody can simply blame everyone else. But of course, my desire to ascribe responsibility might be more a reflection of my own cast of mind than a fair analysis of what happened. That’s one of the central problems of history, isn’t it sir? The question of subjective versus objective interpretation, the fact that we need to know the history of the historian in order to understand the version that is being put in front of us.
That last isn’t something I actually saw, but what you end up remembering isn’t always the same as what you have witnessed.
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.
I’m not very interested in my schooldays, and don’t feel any nostalgia for them. But school is where is all began, so I need to return briefly to a few incidents that have grown into anecdotes, to some approximate memories which time has deformed into certainty. If I can’t be sure of the actual events any more, I can at least be true to the impressions those facts left. That's the best I can manage.
Though why should we expect age to mellow us? If it isn’t life’s business to reward merit, why should it be life’s business to give us warm, comfortable feelings toward its end? What possible evolutionary purpose could nostalgia serve?
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.
Does character develop over time? In novels, of course it does; otherwise there wouldn’t be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that’s something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we’re just stuck with what we’ve got. We’re on our own. If so, that would explain a lot of lives, wouldn’t it? And also-- if this isn’t too grand a word--our tragedy.
I was saying, confidently, how the chief characteristic of remorse is that nothing can be done about it: that the time has passed for apology or amends. But what if I’m wrong? What if by some means remorse can be made to flow backwards, can be transmuted into simple guilt, then apologised for, and then forgiven?
History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation" p17
Avslutande ord
Det finns stor oro. - There is accumulation. There is responsibility. And beyond this, there is unrest. There is great unrest.
Som pensionär får Tony Webster ärva ungdomsvännen Adrian Finns dagboksanteckningar från modern till sin gamla flickvän Veronica. Under skoltiden i 1960-talets England var de vänner, men allt tog slut när Adrian inledde ett förhållande med Veronica. Kort därefter tog Adrian sitt liv. Fyrtio år senare återser Tony Veronica.
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The Sense of an Ending by Julian Barnes
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The structure is hard to describe -- I guess it's what would be filed under "stream of consciousness" -- and largely consists of an older man reflecting on a failed relationship in his youth. Barnes is achingly right about so much of what he writes about memory, pain, and love (or at least, I think he's right) that I felt like I had to take a walk or do some kind of breathing exercises when I finished the book, I was so wound up. It's a short gallop from start to finish, and well worth your time. (