Ebook A History Of The World In 10 1/2 Chapters, by Julian Barnes

Ebook A History Of The World In 10 1/2 Chapters, by Julian Barnes

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A History Of The World In 10 1/2 Chapters, by Julian Barnes

Ebook A History Of The World In 10 1/2 Chapters, by Julian Barnes

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From Publishers Weekly

Admirers of Julian Barnes ( Flaubert's Parrot ; Staring at the Sun ) are accustomed to thoroughly unorthodox approaches to the novel, and his latest, while brilliantly entertaining, certainly strains the limits of the genre. There are many leitmotifs that link the extraordinary episodes: a fascination with Noah's Ark and Mount Ararat, with the perils of the sea, with woodworm and with the nature of love. Add a dash of art history, a good bit of philosophy, an offbeat vision of the Hereafter, plus Barnes's blend of storytelling skills and high intelligence, and the combination must be the thinking person's novel of the season. Whether he is offering a decidedly cynical view of the Ark, imitating 15th-century French religious and legal rhetoric or playing with a goofy U.S. astronaut or a spoiled British movie actor on location in darkest Venezuela, he seems to have perfect pitch. As for the art history, it is a masterly piece of exposition based on Gericault's famous painting The Raft of the Medusa --which the reader gets as a full-color insert. The so-called half chapter is a rueful dissertation on the fragilities of human love. A History may be ultimately undefinable, but it is thoughtful, often funny and never less than fascinating. Copyright 1989 Reed Business Information, Inc.

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From Library Journal

A revisionist view of Noah's Ark, told by the stowaway woodworm. A chilling account of terrorists hijacking a cruise ship. A court case in 16th-century France in which the woodworm stand accused. A desperate woman's attempt to escape radioactive fallout on a raft. An acute analysis of Gericault's "Scene of Shipwreck." The search of a 19th-century Englishwoman and of a contemporary American astronaut for Noah's Ark. An actor's increasingly desperate letters to his silent lover. A thoughtful meditation on the novelist's responsibility regarding love. These and other stories make up Barnes's witty and sometimes acerbic retelling of the history of the world. The stories are connected, if only tangentially, which is precisely Barnes's point: historians may tell us that "there was a pattern," but history is "just voices echoing in the dark; . . . strange links, impertinent connections." Fascinating reading from the author of Flaubert's Parrot , but not for those wanting conventional plot.- Barbara Hoffert, "Library Journal"Copyright 1989 Reed Business Information, Inc.

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Product details

Hardcover: 307 pages

Publisher: Knopf; 1st American ed edition (October 7, 1989)

Language: English

ISBN-10: 0394580613

ISBN-13: 978-0394580616

Product Dimensions:

6.5 x 1.2 x 8.8 inches

Shipping Weight: 1.2 pounds

Average Customer Review:

3.9 out of 5 stars

184 customer reviews

Amazon Best Sellers Rank:

#728,696 in Books (See Top 100 in Books)

What a strange book. How does one even begin to categorize it? Maybe that's the point. Maybe it shouldn't be categorized at all. It is literary criticism, posing as literary biography and meditation on fiction. It is an amalgam of those things and others. But mostly it is a tour de force of writing.This was Julian Barnes' third novel, published in 1984. It won the Geoffrey Faber Memorial Prize and was short listed for the Booker, the first of several of his books to be so listed. It is a short novel, very experimental in concept and structure. Some would call it plotless. It is certainly nonlinear in its story-telling.Barnes gives us as his main character and narrator English doctor Geoffrey Braithwaite, who is obsessed with Madame Bovary's author, Gustave Flaubert. Braithwaite's conceit is that he will write a biography of Flaubert. and to that end, he pores over Flaubert's correspondence, his books, and other biographies of the man.He becomes consumed by the minute details he discovers. Why do Emma Bovary's eyes change color in different editions or sections of the book? Which parrot inspired A Simple Heart - the one Flaubert borrowed from Rouen Museum and kept on his desk during the writing of the story or another one from a hotel? Braithwaite spends much of his time investigating the parrot issue and trying to resolve it.He also explores Flaubert's intellectual and physical relationships with others and particularly how they relate to the creation of Emma Bovary. It gradually becomes clear that there are parallels in Braithwaite's own life, that he sees something of Emma in the life of his own wife, now dead.All of this is revealed slowly, in fragmentary fashion, through extraordinary word play and dissertations on the writer's role, the relationship between art and life, and the unproductive role of literary critics. While most novels are presented in a straightforward, linear fashion that allows the reader to easily digest the meal being served, this one reveals itself somewhat as a coconut. The reader has to work to get at the milk and meat inside.The plot, if it can truly be called that, is Flaubert's life of the mind and the body. As Braithwaite enthusiastically explores that life, we are privy to his research, his notes, musings, and speculations. And that makes up the main body of the book. When we learn, finally, that Braithwaite's own much-loved wife had been unfaithful to him in the manner of Emma Bovary, we begin to appreciate his obsession, his need to understand both the writer and his fictional creations.Flaubert's Parrot brilliantly marries the details of Flaubert's life, his creation of the world of Emma Bovary, and the life of the narrator, Geoffrey Brathwaite, who had his own experience of adultery and, ultimately, of bereavement.And what about that parrot? Where did Flaubert get it? How did he conceive of it? How did it inspire him to write? Does it matter? Probably not. Well, then, never mind.

A central theme to Julian Barnes’ writing is our inability to capture exactly what happened with people, places, events…. well, things. Not only shortly after but even more distantly as we move away from what was once future, then present, now past.His 1984 book, “Flaubert’s Parrot,” takes us into this process through the imagined thoughts and conversations of several people, some current and some past contemporaries of the title’s human subject, the 19th century writer, Gustave Flaubert, whose “Madame Bovary” broke the mold for conventional fiction at the time.The initial journey is delivered through the travels and musings of an English physician, Geoffrey Braithwaite, fascinated, if not obsessed, with the life and relationships of the author. The good doctor’s initial focus is on identifying Flaubert’s original parrot, Loulou, now stuffed, who once was a living inspiration and companion during the writing of “Une Coeur Simple.”However, there is more than one stuffed bird. This doppelganger inspires an exhausting review of Flaubert’s life, habits, peculiarities, lists of his use of animals, trains, debates about the color of Emma Bovary’s eyes – all done to show much has been recorded about the author. It is exhausting.As counter point to all this detail, the author uses a ploy – the willful destruction of printed information of interest to the main character by another – that he revisits in his 2011 novel, ”The Sense of an Ending.” It seems to be his way of showing how transitory our ability to reconstruct events really is - no matter how many resources are available.Two chapters stand out and are worth reading on their own: “Louise Colet’s Version,” a tour de force by Barnes into the mind and emotions of Flaubert’s off-again, on-again lover and, “Pure Story,” a thoughtful exploration of feelings by a man reflecting on the loss of his wife who had a second life not unlike Emma Bovary. There are memorable lines such as: “The old times were good because then we were young and ignorant of how ignorant the young can be.”As to the parrot, there are more than meets the eye by the end of the book.You can also rest assured you will know more about Gustave Flaubert and his peccadilloes than you ever cared to… at least I did.

I think this is one of the best novels/short story collections written in the last 30 years. It is a pleasurable and deep reflection on human nature, on memory, on love, and on how we, as a species, try to grapple with the complexity of the surrounding world. The author writes beautifully (I have read pretty much all of his work, and would say this is his best). It will make you laugh a lot, it will make you think a lot, and you will come away with a definite sense of satisfaction and unease.Obviously this is not a whole history of the world (some of the reviewers seem surprised by this, failing to grasp the self-deprecating irony of the project), but a collection of interwoven reflections from a variety of perspectives (human and animal alike). The change of narrative voice is perhaps the most interesting thing about this book, as the reader constantly encounters a new perspective and, at times, has a hard time distinguishing "fact" from "fiction." This is, of course, Barnes's very point. The author's own narrative voice finally comes to us in the half chapter between 8 and 9 where he reveals (or seems to, anyway,) his own view of history: "History isn't what happened. History is just what historians tell us. There was a pattern, a plan, a movement, expansion, the march of democracy; it is a tapestry, a flow of events, a complex narrative, connected, explicable. One good story leads to another."

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