Books by Julian Barnes; Watching the memory from the perspective of the story

The vast majority of people do not understand why some people become writers. That is, the passion for writing increases so much in them that they have to pick up the pen and put the words on the paper and get rid of it. Look at their faces when answering this question. They struggle to express the feeling that makes them put words on paper. Books by Julian Barnes; Watching the memory from the perspective of the story

The vast majority of people do not understand why some people become writers. That is, the passion for writing increases so much in them that they have to pick up the pen and put the words on the paper and get rid of it. Look at their faces when answering this question. They struggle to express the feeling that makes them put words on paper.

You must know Julian Barnes. A prominent British writer and critic who is a great essayist and short story writer, but he also answered the question "Why did you become a writer?" or "Why do you write?" throws a shield It seems that the best way to find the reason why he became a writer is to review his life and books, which we introduce below.

19 days had passed since the beginning of 1945. The Second World War was bloody and devastating. But the Barnes family in the suburbs of the city of Leicester in the center of Great Britain was immersed in studying and teaching French in a quiet neighborhood when the cry of Mr. Barnes' pregnant wife broke the silence and announced the arrival of the child. It was a few hours before the end of the night when a boy with colored eyes named "Julian" announced his presence.

His parents were reading stories to him to sleep. The boy who was slowly reacting to sound, light and people, immediately after hearing his mother and father's voice, he would turn to them and look at them. Julian, whose mother's lullaby was the stories whispered in his ear, held his hand to the library shelf and stood. He took the first steps towards his parents' office and study. His toys were not cars, soccer balls, wrenches, and screwdrivers, but books, magazines, pens, and paper.

He was brought up in the literary-artistic environment that his parents made, and after entering elementary school, he became fond of French literature. He studied non-stop and was never tempted to become a writer. But his mother said that her son has a powerful imagination and will write one day.

After finishing his studies at City of London School, he went to Magdalen College, Oxford and graduated in European languages.

3 Sal worked as an assistant lexicographer at the Oxford Institute of Culture. He suffered from acute embarrassment when he wrote book reviews for the New Statesman and New Review magazines. During the weekly meetings of Sam Bakam, he would sit in a corner so as not to attract attention. Between 1979 and 1986, he worked for television and the Observer weekly.

Barnes, who had never written a novel of his own, published his first story under the title "Metroland" in the early 1980s. He had published more than a dozen novels two decades later, the publication of the novel "Understanding an End" changed his life. He won the prestigious Man Booker prize and his name became more prominent.

After decades of writing in the press and creating a multitude of stories and essays, the British author and essayist writes in such a way that his works are full of innovation, dreaming, and description of events. And it is the details that are a constant pleasure to read.

In the following, we introduce seven works of Julian Barnes:

The Noise of Books by Julian Barnes; Watching the memory from the perspective of the story

This work is about the life of Dmitri Shostakovich, a Russian composer of the Soviet era. He is called as one of the geniuses of Soviet art. This book is a hybrid novel, a combination of fiction and biography. The book describes Shostakovich's complicated relationship with the Soviet communist regime. This composer's works were banned before he joined the Communist Party.

Shostakovich was thirty years old in 1936. In these years, when Stalin's purges had begun, he wrote the opera "Lady Macbeth of Metsensk District", which attracted great admiration and made the Soviet leader go to see him; But Stalin did not like it. The next day, Pravda newspaper published an article condemning this musician's works; The incident that raised the alarm for him. From then on, Shostakovich lived in fear.

In a part of this novel, we read:

"All this happened in the middle of the war, in a train station as flat and dusty as the adjacent endless plain. Terni, who had been standing and working there for two days, had left Moscow and was heading west; It was another two or three days. Depending on the amount of coal and the direction of movement of the infantry forces. It was a little after dawn, but the man, actually half a man, was sitting on a board with four wooden wheels and was pushing himself towards the first-class compartments with his hand. There was no way to steer his device except by grabbing the front edge of the board and swinging it left and right. In order not to lose his balance, he had passed a rope under the quad bike and tied it to the top of his pants. His hands were covered with dirty rags and his skin was hard as leather from begging in the streets and stations. His father was a survivor of the previous war. The priest of their village had sent him with good prayers to fight for the country and the tsar. When he returned, the priest and the tsar were dead, and his homeland was no longer the same as before. His wife screamed when she realized what the war had done to her husband. Now it was another war and the same The previous aggressor had returned, except that the names had changed, the names of both sides."

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Understanding an Books by Julian Barnes; Watching the memory from the perspective of the story

This novel won the Man Booker prize for its author. Tony Webster, the main character of the book, who is now an old man, received the testament of an old friendship, citing the words of Kierkegaard, a Danish philosopher who says: "Life can only be understood backwards, but it must be lived forwards." In pursuit of understanding, he goes back in his life and rereads his past memories. At the beginning, it seems that there is no challenge and the story of life can be told in a coherent form by recalling memories, but as the story progresses, Tony realizes that "what remains in the memory is not always what we witnessed." Tony starts rereading his memories from his teenage years and narrates the important events of his life in order. friendships, conflicts and reconciliations, philosophical discussions about the meaning of life, the concept of time and history, work and retirement, marriage and amicable divorce, everyday life and growing old; That is, the memories that should justify the formation of Tony's current personality. While rereading his memories, he faces weak memory and uncertainty. A contradiction caused by "the intersection of memory failure and insufficient evidence." A painful contradiction that makes Tony judge himself and doubt the authenticity of his memories, and finally become determined to understand the truth. But what will be the results of understanding the reality? Aren't memories just made by our minds? Haven't we reconstructed these memories so that we don't face the reality and our life becomes justified and bearable? Such questions occupy the reader's mind in the course of the story and invite him to reflect on the impact of his current behavior on his future and others; A reflection that may keep him safe from guilt and regret in the future. It is possible.

In a part of Derek's novel, we read an ending:

"- I strongly believe that we all suffer in some way. How can we not see; Unless we have a world of perfect fathers and mothers, brothers and sisters, neighbors and friends. And then we come to the issue that is the basis of the work, that is, our reaction to the hurt: do we admit it or keep it to ourselves, and how much does this affect how we treat others? Some admit the damage, and try to mitigate it, some dedicate their lives to helping other victims; And finally, there are those who spend all their strength in this way so that, at any cost, they will not be harmed anymore. And these become cruel people that you have to watch out for.

- How often do we tell our life story? How much do we modify and change it? Do we cleverly display slices of it and embellish other parts of it? And with the passage of time, the number of those who have remained with us from the past becomes less and less, and there is no one to remind us that what we tell as the story of our life is more of our story than our life."

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Photography, ballooning, love and Books by Julian Barnes; Watching the memory from the perspective of the story

Pat Kavanagh, husband and literary agent of Julien Barnes, died of a brain tumor in 2008, and three or four years later Barnes finished writing this book, which is a long meditation on love and grief and the struggle to face a person with Death: What Love Gives Us and Makes Us Feel Like We Can Dodge Bullets As Sarah Bernard claimed it gives space between raindrops, and what it boils down to: that "every potential love story is also a story of grief." , that in the end one of us will die before the other one...

In a part of the balloon photography book of Love and Sorrow, we read:

"Two things that have never been together before." put together and the world it changes Probably no one will pay attention at that moment, but it doesn't matter. Anyway, the world has changed.

Colonel Fred Burnaby, of the Royal Cavalry Guards and a member of the Council of the Aeronautical Society, took off from the Dover Gas Works on the 23rd of March 1883, halfway between Dieppe and Nouchtel. , landed.

Sarah Bernard took off from Paris four years before and landed near Emeraville, in the city of Saint-Marin.

Felix Tornachon, who on October 18th, 1863, from the Champs-Elyses Paris had taken off, then after a gust of seventeen hours had carried her east, she crashed somewhere near the railroad near Hanover.

Fred Burnaby was traveling alone in a yellow and red balloon called the Eclipse. The length of the basket was one and a half meters, and its width and height were a little less than one meter. Burnaby weighed over a hundred kilos, wore a striped coat and a tight-fitting hat, and had a handkerchief wrapped around his neck to protect him from the sun. Burnaby had with him two beef sandwiches, a bottle of Apollinaris mineral water, a barometer to measure altitude, a thermometer, a compass, and cigars worth Necessary.

Sarah Bernard, however, traveled with her artist lover, George Clarin, and a professional aviator in an orange balloon named after her recent role in Theater City: Donny or Sol. At half past six in the afternoon, an hour after the start of the flight, the actress played the role of mother and took a liver sandwich for the others. The aviator opened a bottle of champagne and sent the cork in the air, and Bernard drank from a metal goblet. Then they ate an orange and threw the empty bottle into Lake Vincennes. Suddenly, the wind got under their skin and they happily dropped the balance weights from above onto the heads of the poor spectators below: an English tourist family on the balcony of the Bastille Tower; Later, over the happy crowd of the wedding party outside the city.

Tornashon also traveled with eight people in his personal balloon in his ambitious dream: "I have to make a balloon - a great balloon - huge and gigantic. Twenty times the largest existing balloon. He also named it Jaynet. This balloon made seven flights between 1863 and 1867. Among the passengers of the second flight, we can mention Ernestine, Tornashawn's wife, aviator brothers Louis and Jules Godard, and one of the descendants of the Montgolfier family - one of the pioneers of ballooning. There is no information about the food they had with them."

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The Steadfast Books by Julian Barnes; Watching the memory from the perspective of the story

I think you know Julian Barnes. He is known among intellectuals and book readers for his famous novels, Understanding an Ending, Just a Story, The Noise of Time, Flaubert's Parrot and Arthur and George. But this great writer is a first-class essayist that has been rarely addressed.

In this four hundred and twenty-six page work, Barnes looks at his favorite paintings created in the 19th and 20th centuries from the eyes of a novelist. has done. The author makes an elixir from memory, history, narrative, reminiscence and storytelling, using which he gives a description of the work of art that is engaging.

Some of the essays are dedicated to one painting. In some others, the artist's style and historical position are the main subject, and an attempt is made to present a general statue of the painter in front of the audience. In a part of the book, the essay writer does not talk about artists' paintings because writing about abstract works is a difficult task. Along with interpreting his favorite works, Barnes deals with contrasts and similarities, paying attention to everyday affairs, people, objects and interpersonal relationships. Considering the fact that this book does not have a specialized aspect, it is also recommended for those interested in literature.

In a part of Cheshm Payinde's book, we read:

"A few years ago, Dosti Journalist sent him to Paris and nothing happened." This friend had two children. As soon as her children's eyes were opened to things, she would pick them up, take them around the Louvre, and tenderly sew their young pupils to some of the world's most distinguished paintings. I don't know if he played classical music for them when they were in the mother's womb, like some forward-looking parents; But sometimes I wonder what kind of people these children will become in the end: prone to manage the museum of modern art, or adults without any visual understanding and afraid of art galleries. My parents never tried to give me culture at a young age (or any other age); They did not forbid me. Both were school teachers and so art, or rather the idea of art, was respected in our home. We had heavy books in the library and a piano in the living room - although it never played during my childhood. The piano was given to my mother by her loving father when she was still young and played well and had a bright future. But he was only twenty years old when he came across a difficult piece by Scriabin and his piano playing also reached a dead end. After many and many failures to play the piece skillfully, my mother realized that she had reached a stage beyond which she could not go. He stopped playing suddenly and forever. But the piano could not be done; He went from house to house with my mother and stayed faithfully with her: until marriage, until motherhood, until old age and widowhood. On its mostly dusty crown was a sheaf of musical scores, including the very Scriabin piece my mother had left behind decades ago."

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Arthur and Books by Julian Barnes; Watching the memory from the perspective of the story

As an author, Barnes has written two types of stories before this novel: a detective story and a psychological drama. In both genres he has written, he has used his wide knowledge of lexicography freely, but regularly. For him, every word he uses has a history. He does not want to involve the reader in his lexical obsession, but one feels that obsession. He never writes melanqati, but in English it is molasses. We see this aspect more in "Arthur and George". It also has a precise justification. "Arthur and George" is not quite a detective story, nor quite a psychological drama. It has both, plus something new: history. It is a historical novel in which the theme of the police is mixed with the theme of the psychological drama. In the narration too This book has a unique style. It narrates a familiar story with such a fluid and attractive narration that it is as if you are lying on the sofa and watching an exciting movie. This experience cannot be obtained by watching the series that they made from it, because the film does not have the ability to illustrate the lexical obsession that the author has taken full advantage of in this book due to the historical aspect of the story. The important point in writing a successful historical novel is that the work is linked to literature beyond history. The requirement of such a blessed connection between history and literature is the balance that must be maintained between reality and fantasy. It is known that time is the judge; If one day that mysterious judge decides that "Arthur and George" is the best work that Barnes ever wrote, he will probably justify it by saying: because it is a fascinating novel, it has not come out of reality or fantasy, and by telling the story of that storm The great moral-legalism that the great author, Sir Arthur Cannondowell, created in the English society in the early 20th century illustrates both the author's face and the face of his great creature, who had already retired to the world of fantasy: Sherlock Holmes. But that's not all. The simultaneity and similarity of the moral storm inspired by the tragedy of George Adelaji with the moral storm of Dreyfus in France well, you have to read for yourself. It is exciting.

In a part of the novel Arthur and George, we read:

"He didn't realize at first that these stories were somehow related to the old wooden chest that was next to his parents' bed and They kept family records in it. There was all sorts of stories, more like schoolwork, about noble houses in Brittany and the Irish branch of the Northumberland Percies, about who was the leader of the pack brigade at the Battle of Waterloo and the uncle of that pale white thing that Arthur never forgot. And the private genealogy lessons his mother gave him are intertwined with all these stories. Mom takes out the big cardboard sheets from the kitchen shelf; Patterned and colorful cardboard that was the work of one of his uncles in London. He would describe the family crests to him, then order Arthur to tell him in turn the role of that shield, and he had to answer like a multiplication table: degrees, stars, herringbones, five-pointed flowers, silver crescents and their glittering shapes.

At home, he learned additional commandments that preceded the ten commandments of the church. "Be fearless in front of the powerful: humble in front of the weak" was one of these commandments, and another: "Be chivalrous in front of women, both high and low." He felt that women, because they were directly related to Mom, were more important and needed appropriate action. Arthur's gaze did not go beyond their necessary circumstances. The apartment was small, the money was low; His mother worked too much, his father was moody. From the very beginning, she made a childish plan that she knew she would never deviate from: "Mom, when you get old, you will wear a silk dress and gold-rimmed glasses and sit comfortably by the fire." Arthur could see the beginning of the story - where he was now - and the happy ending: only the middle of the story was not clear now.

Just a Books by Julian Barnes; Watching the memory from the perspective of the story

Nietzsche said: "What happens out of love It falls, it is beyond good and bad."

Love breaks the boundaries of morality and social custom and does not recognize any framework for its expression. Julian Barnes opens Just a Story with a question: "Would you rather have more love and more pain or less love and less pain?" "In the end, I think that's the only real question." Although this question seems paradoxical and sophistical from the beginning, it shows the quality with which love is formed and grows on the basis of that contradiction.

Many of us have only one story worth telling. . It does not mean that only one thing happens in every person's life. There are countless stories in our lives that we can tell others. But in the end, it is only one story that is more important than all stories, and in the end, this is the only story that is worth telling.

A novel is the narrator of such a story. The story of the consequences of the first love that is eternal. Julian Barnes, like his other work, "Understanding an Ending", along with Paul, the narrator, takes us on a journey through the past of his character.

The author, like the masters of the past ages, with an all-round and comprehensive look at the investigation and Dives into Paul's first romantic relationship. He carefully examines love and the deadly and life-giving details of love and encourages the reader to think about his own stories and stories. From this point of view, it can be said that "Just a story" is a work about the philosophy of love.

A strange love story that breaks the boundaries of morality and social custom and does not reflect any framework. An unconventional love that blames the society and has appeared outside the conventional rules of life. And isn't love always rebellious and risky? Julian Barnes responds with his bold narrative.

In one part of the novel, we read only one story:

"You'd rather have more love and more pain." More or less love and less suffering? In the end, that is the only real question. You may, rightly, say that this is not the right question. Because we have no choice in this matter. If we had, then this question would also be raised; But we don't have it, so there is no question. Who can determine the intensity of his love in his own hands? If it is his own hand, his feeling is no longer love. I don't know what other name you give to this feeling, but it's definitely not love.

Most of us only have one defining story. I don't mean that only one thing happens to us in life. There are countless incidents that we turn into countless stories. But only one of them matters, in the end there is only one story worth telling. This is my story.

But the first problem: if this is your only story, then it's a story you've told over and over again, even if it's mostly for yourself, just like this one. So the important question is: do retellings bring you closer or further away from the truth of what happened? I don't know right. A touchstone is whether you end up with a better or worse character after years of your own story. Your worsening may indicate that you are becoming more honest. On the other hand, there is also the risk that by repeatedly reviewing your story, you will gradually make yourself an anti-hero figure. Presenting such a character whose behavior is worse than the real one may be a form of self-aggrandizement. So I have to be careful. Well, over the years I've learned to be cautious. Now I have to be as careful as I was careless then. Maybe I mean careless. Does it mean that one word can have two opposites?"

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Flaubert's Books by Julian Barnes; Watching the memory from the perspective of the story

This novel is the result of its author's strong interest in "Gustave Flaubert". "Herman" is the main character of Flaubert's educated and affectionate medical story. In order to open a secret that he considers insignificant at first, he sinks into the heart of Flaubert's life, personality and works and mixes the facts of his life and ideas with the secrets of Gustav Flaubert's world. p>

"Let me tell you why I hate the critics of Jamaat." Not for the usual reasons that the critics are failed creators (often they aren't, it's possible they are failed critics, but that's another discussion), or that they're inherently disaffected and jealous and self-righteous (often not, so much the better if they're accused). We should accuse them of excessive generosity, that sometimes they raise their sensitive nature to the level of isolated taffeta with all kinds of indulgences. No, the reason I hate critics, of course some of them, is that they write sentences like this: Flaubert does not treat his characters with objective and external descriptions like Balzac. In fact, he is so careless in describing their appearance that he gives Emma brown eyes in one case, dark black eyes in another case, and blue eyes in another case. The late Enid Starkey, Emeritus Associate Professor of French Literature at Oxford University and the most comprehensive British biographer of Flaubert. The numbers in this lady's note refer to the footnotes in which she stabs the novelist by mentioning chapters and lines.

And the parrot? Well, it took me two years to solve the case of the dried parrot. None of the letters I had written after my first return from Roa had any effect; Some of them were even left unanswered. Anyone would have thought that Abelham, a deranged expert who got involved in a trivial case and pathetically tried to make a name for himself. while in fact the young are more stupid than the old; Much more selfish, self-destructive and even weirder. Young people are only treated with more carelessness. When a person commits suicide at the age of eighty or seventy or fifty-four, it is called dementia, post-menopausal depression, or the last blow of base pride whose purpose is to make others feel guilty. When someone commits suicide in the third decade of life, it is called a wise refusal to accept the humiliating conditions that life puts in front of a person, an act not out of courage, but out of morality and rebellion against society. to live? Elders can do this for us. Of course, it is pure nonsense. I speak as a doctor.

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