Julian Barnes Quotes - Page 2

One of the things he had learned in life, and which he hoped he could rely on, was that a greater pain drives out a lesser one. A strained muscle disappears before toothache, toothache disappears before a crushed finger. He hoped - it was his only hope now - that the pain of cancer, the pain of dying , would drive out the pains of love. It did not seem likely.

[Flaubert] didn’t just hate the railway as such; he hated the way it flattered people with the illusion of progress. What was the point of scientific advance without moral advance? The railway would merely permit more people to move about, meet and be stupid together.

How do we seize the past? Can we ever do so? When I was a medical student some pranksters at the end-of-the-term dance released into the hall a piglet which had been smeared with grease. It squirmed between legs, evaded capture, squealed a lot. People fell over trying to grasp it, and were made to look ridiculous in the process. The past often seems to behave like that piglet.

We live with such easy assumptions, don't we? For instance, that memory equals events plus time. But it's all much odder than this. Who was it said that memory is what we thought we'd forgotten? And it ought to be obvious to us that time doesn't act as a fixative, rather as a solvent. But it's not convenient--- it's not useful--- to believe this; it doesn't help us get on with our lives; so we ignore it.

For the point is this: not that myth refers us back to some original event which has been fancifully transcribed as it passed through collective memory; but that it refers us forward to something that will happen, that must happen. Myth will become reality, however sceptical we might be.

I blushed. You haven't seen a bald man in his sixties blush? Oh, it happens, just as it does to a hairy, spotty fifteen-year-old. And because it's rarer, it sends the blusher tumbling back to that time when life felt like nothing more than one long sequence of embarrassments.

Perhaps this was one of the tragedies life plots for us: it is our destiny to become in old age what in youth we would have most despised.

And yet it takes only the smallest pleasure or pain to teach us time’s malleability.

Everything in art depends on execution: the story of a louse can be as beautiful as the story of Alexander. You must write according to your feelings, be sure those feelings are true, and let everything else go hang. When a line is good it ceases to belong to any school. A line of prose must be as immutable as a line of poetry.

He didn’t really like travel, of course. He liked the idea of travel, and the memory of travel, but not travel itself.

The law, and society, and religion all said it was impossible to be sane, healthy, and kill yourself. Perhaps those authorities feared that the suicide‟s reasoning might impugn the nature and value of life as organised by thePage | 49 .state which paid the coroner? And then, since you had been declared temporarily mad, your reasons for killing yourself were also assumed to be mad. So I doubt anyone paid much attention to Adrian‟s argument, with its references to philosophers ancient and modern, about the superiority of the intervening act over the unworthy passivity of merely letting life happen to you.

There is violence in this supposedly tender heart of mine.

When you are young, you think that the old lament the deterioration of life because this makes it easier for them to die without regret. When you are old, you become impatient with the way in which the young applaud the most insignificant improvements … while remaining heedless of the world’s barbarism. I don’t say things have got worse; I merely say the young wouldn’t notice if they had. The old times were good because then we were young, and ignorant of how ignorant the young can be.

I am more optimistic, both about reading and about books. There will always be non-readers, bad readers, lazy readers – there always were. Reading is a majority skill but a minority art. Yet nothing can replace the exact, complicated, subtle communion between absent author and entranced, present reader.

In those days, we imagined ourselves as being kept in some kind of holding pen, waiting to be released into our lives. And when the moment came, our lives -- and time itself -- would speed up. How were we to know that our lives had in any case begun, that some advantage had already been gained, some damage already inflicted? Also, that our release would only be into a larger holding pen, whose boundaries would be at first undiscernible.

Cut privet still smells of sour apples, as it did when I was sixteen; but this is a rare, lingering exception. At that age, everything seemed more open to analogy, to metaphor, than it does now. There were more meanings, more interpretations, a greater variety of available truths. There was more symbolism, Things contained more.

You can deal with the brain, as I say; it looks sensible, whereas the heart, the human heart, I'm afraid, looks a fucking mess.

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?

Was this their exact exchange? Almost certainly not. Still, it is my best memory of their exchange.

And what percentage of people take up the option to die off?’ She looked at me, her glance telling me to be calm. ‘Oh, a hundred per cent, of course. Over many thousands of years, calculated by old time, of course. But yes, everyone takes the option, sooner or later.’‘So it’s just like the first time round? You always die in the end?’‘Yes, except don’t forget the quality of life here is much better. People die when they decide they’ve had enough, not before. The second time round it’s altogether more satisfying because it’s willed.’ She paused, then added, ‘As I say, we cater for what people want.’I hadn’t been blaming her. I’m not that sort. I just wanted to find out how the system worked. ‘So … even people, religious people, who come here to worship God throughout eternity … they end up throwing in the towel after a few years, hundred years, thousand years?’‘Certainly. As I said, there are still a few Old Heaveners around, but their numbers are diminishing all the time.

Art is the whisper of history, heard above the noise of time. Art does not exist for art's sake: it exists for people's sake.

If you remember your past too well you start blaming your present for it. Look what they did to me, that's what caused me to be like this, it's not my fault. Permit me to correct you: it probably is your fault. And kindly spare me the details.

Love is just a system for getting someone to call you Darling after sex.

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.

In life, every ending is just the start of another story.

Opera cuts to the chase—as death does. An art which seeks, more obviously than any other form, to break your heart.

Games are for childhood, and sometimes I think I lost my childhood young.

History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation.

Irony - The modern mode: either the devil’s mark or the snorkel of sanity.

This was another of our fears: that Life wouldn't turn out to be like Literature. Look at our parents--were they the stuff of Literature? At best, they might aspire to the condition of onlookers and bystanders, part of a social backdrop against which real, true, important things could happen. Like what? The things Literature was about: Love, sex, morality, friendship, happiness, suffering, betrayal, adultery, good and evil, heroes and villains, guilt and innocence, ambition, power, justice, revolution, war, fathers and sons, mothers and daughters, the individual against society, success and failure, murder, suicide, death, God.

He always thought that Touie's long illness would somehow prepare him for her death. He always imagined that grief anf guilt, if they followed, would be more clear-edged, more defined, more finite. Instead they seem like weather, like clouds constantly re-forming into new shapes, blown by nameless, unidentifiable winds.

I don't ever want to get old. Spare me that. Have you the power? No, even you don't have the power, alas.

But life never lets you go, does it? You can't put down life the way you put down a book.

When we're young, everyone over the age of thirty looks middle-aged, everyone over fifty antique. And time, as it goes by, confirms that we weren't that wrong. Those little age differentials, so crucial and so gross when we are young erode. We end up all belonging to the same category, that of the non-young. I've never much minded this myself.

Life always refused simplicity.

It had been a slow and painful business, discovering that the theory of love did not match the reality of life. It was like expecting to be able to write a symphony because you had once read a handbook of composition.

The writer must be universal in sympathy and an outcast by nature: only then can he see clearly.

Everything you invent is true: you can be sure of that. Poetry is a subject as precise as geometry.

Was it the case that colours dimmed as the eye grew elderly? Or was it rather that in youth your excitement about the world transferred itself onto everything you saw and made it brighter?

The mechanism of natural selection depends on the survival, not of the strongest, nor the most intelligent, but of the most adaptable.

Well, they each seem to do one thing well enough, but fail to realize that literature depends on doing several things well at the same time.

Music escapes from words: that is its purpose, and its majesty.

...I need to return briefly to a few incidents that have grown into anecdotes, to some approximate memories which time has deformed into certainty.

I feel sorry for novelists when they have to mention women's eyes: there's so little choice, and whatever colouring is decided upon inevitably carries banal implications. Her eyes are blue: innocence and honesty. Her eyes are black: passion and depth. Her eyes are green: wildness and jealousy. Her eyes are violet: the novel is by Raymond Chandler.

Some of the freckles I once loved are now closer to liver spots. But it’s still the eyes we look at, isn’t it? That’s where we found the other person, and find them still.

When you are in your twenties, even if you're confused and uncertain about your aims and purposes, you have a strong sense of what life itself is, and of what you in life are, and might become. Later... later there is uncertainty, more overlapping, more backtracking, more false memories. Back then, you can remember your short life in its entirety. Later, the memory becomes a thing of shreds and patches. It's a bit like the black box airplanes carry to record what happens in a crash. If nothing goes wrong, the tape erases itself. So if you do crash, it's obvious why you did; if you don't, then the log of your journey is much less clear.

You get towards the end of life - no, not life itself, but of something else: the end of any likelihood of change in that life. You are allowed a long moment of pause, time enough to ask the question: what else have I done wrong?

He feared me as many men fear women: because their mistresses (or their wives) understand them. 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.

If you'll excuse a brief history lesson: most people didn't experience 'the sixties' until the seventies. Which meant, logically, that most people in the sixties were still experiencing the fifties--or, in my case, bits of both decades side by side. Which made things rather confusing.

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.

Is there anything more plausible than a second hand?

Me and my books, in the same apartment: like a gherkin in its vinegar.

I remember what Old Joe Hun said when arguing with Adrian: that mental states can be inferred from actions. That’s in history—Henry VIII and all that. Whereas in the private life, I think the converse is true: that you can infer past actions from current mental states.

The constant tug between nature and civilization is what keeps on our toes. Though of course, that did rather beg the question of how you defined nature and how you defined civilization.

My brother distrusts the essential truth of memories; I distrust the way we colour them in. We each have our own cheap-mail-order paintbox, and our favourite hues. Thus, I remembered Grandma a few pages ago as "petite and unopinionated". My brother, when consulted, takes out his paintbrush and counterproposes "short and bossy.

Back then, things were plainer: less money, no electronic devices, little fashion tyranny, no girlfriends. There was nothing to distract us from our human and filial duty which was to study, pass exams, use those qualifications to find a job, and then put together a way of life unthreateningly fuller than that of our parents, who would approve, while privately comparing it to their own earlier lives, which had been simpler, and therefore superior.

Music — good music, great music — had a hard, irreducible purity to it. It might be bitter and despairing and pessimistic, but it could never be cynical. If music is tragic, those with asses’ ears accuse it of being cynical. But when a composer is bitter, or in despair, or pessimistic, that still means he believes in something.

Memories of childhood were the dreams that stayed with you after you woke.

What you end up remembering isn't always the same as what you have witnessed.

When I was still quite young I had a complete presentiment of life. It was like the nauseating smell of cooking escaping from a ventilator: you don't have to have eaten it to know that it would make you throw up.