Assignment 207: Contemporary Literature in English

 

Assignment 207: Contemporary Literature in English

The theme of passion (love) and suffering in Julian Barnes’s novel 'The Only Story'

Name: Avani Jani

Roll No.: 3

Enrollment No.: 4069206420220014

Paper no: 207

Paper code: 22414

Paper name: Contemporary Literatures in English

Sem.: 4 (Batch 2022- 2024)

Submitted to: Smt S.B. Gardi Department of English, M.K. Bhavnagar University

Julian Barnes: 

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

                                                                        ― Julian Barnes, The Sense of an Ending

            Julian Barnes, born on January 19, 1946, in Leicester, England, is a British writer known for his imaginative and thought-provoking novels featuring characters consumed by their fascination with history.

            Barnes pursued his education at Magdalen College, Oxford, earning his B.A. in 1968. During the 1970s, he commenced his career by providing critiques for the Times Literary Supplement. Meanwhile, under the pseudonym Kavanagh, he penned a series of thrillers. Among these works are Duffy (1980), Fiddle City (1981), Putting the Boot In (1985), and Going to the Dogs (1987), which center around the exploits of Duffy, a former police officer turned private investigator with a complex personal life.

            Barnes made his debut under his own name with the coming-of-age tale Metroland (1980). In Before She Met Me (1982), the protagonist's consuming jealousy drives him to delve into his wife's past. Flaubert’s Parrot (1984) offers a whimsical blend of biography, fiction, and literary analysis, following a scholar's fixation on Gustave Flaubert and the taxidermied parrot that inspired the author. Among his subsequent works are A History of the World in 101/2 Chapters (1989), Talking It Over (1991), The Porcupine (1992), and Cross Channel (1996). England, England (1998) takes a satirical aim at contemporary England, portraying a theme park on the Isle of Wight that encapsulates the nation's essence, including its royal family, historic landmarks, and cultural icons.

            Barnes delved into nonfiction with Something to Declare (2002), a collection of essays delving into the intricacies of French culture, followed by The Pedant in the Kitchen (2003), a delightful exploration of his culinary passions. Through the Window (2012) offers insights into his literary inspirations, while Keeping an Eye Open: Essays on Art (2015) showcases his reflections on various artistic works. In his memoir Nothing to Be Frightened Of (2008), Barnes candidly examines his familial relationships, particularly with his parents and older brother. Levels of Life (2013) is a poignant tribute to his late wife, comprising interconnected essays. The Man in the Red Coat (2019) intertwines the narrative of pioneering surgeon Samuel Pozzi with the vibrant tapestry of Belle Époque Paris.

Here's a table listing out some of Julian Barnes' major works and notable awards:

Year	Work	Type
1980	Metroland	Novel
1980	Duffy	Novel (as Kavanagh)
1981	Fiddle City	Novel (as Kavanagh)
1982	Before She Met Me	Novel
1984	Flaubert’s Parrot	Novel
1985	Putting the Boot In	Novel (as Kavanagh)
1987	Going to the Dogs	Novel (as Kavanagh)
1989	A History of the World in 101/2 Chapters	Novel
1991	Talking It Over	Novel
1992	The Porcupine	Novel
1996	Cross Channel	Novel
1998	England, England	Novel
2002	Something to Declare	Nonfiction
2003	The Pedant in the Kitchen	Nonfiction
2008	Nothing to Be Frightened Of	Memoir
2012	Through the Window	Nonfiction
2013	Levels of Life	Nonfiction
2015	Keeping an Eye Open: Essays on Art	Nonfiction
2019	The Man in the Red Coat	Nonfiction

Notable Awards:

• Man Booker Prize for Fiction (2011) - "The Sense of an Ending"
• David Cohen Prize (2011) - Lifetime achievement in British literature
• E. M. Forster Award (1992) - American Academy of Arts and Letters
• Geoffrey Faber Memorial Prize (1980) - "Metroland"

The Only Story:

        Julian Barnes's new novel, "The Only Story," is a short and introspective work that echoes themes from his Booker Prize-winning "A Sense of an Ending." Both novels feature an aging narrator grappling with a past love and a sense of regret. While some might see this introspective look back as a common trope for established authors like Barnes (now 72), "The Only Story" offers more than just nostalgia; it delves into the complexities of memory and the enduring impact of love.

        In the opening lines of "The Only Story," the narrator, Paul, reveals a decades-long preoccupation with a life-altering event. Fifty years prior, as a bright young college student on summer break, he finds himself entangled with Susan Macleod, a married woman of 48 at the local tennis club. Paul admits with a hint of youthful defiance that the relationship seemed particularly appealing because it defied his parents' expectations.

        In the heat of passion, the fact that he's preoccupied with thoughts of his parents highlights the youthful naivety of the 19-year-old protagonist. While still residing under his parents' roof, Paul finds himself anxiously anticipating the burdens of adulthood. Early in the story, there's a vivid depiction of his aversion to aging, expressed in a lengthy passage detailing the perceived shortcomings of older individuals: their mannerisms, habits, and physical changes. Paul, like many young people, firmly believes he'll never fall prey to these perceived indignities, even as he engages in a relationship with a woman much older than himself.

The theme of passion (love) and suffering in Julian Barnes’s novel 'The Only Story':

Etymology of the word 'Passion' :

        The word "passion" is one of those words where the modern application appears disconnected from the original meaning. The word itself comes from the Latin root word patior, which means to suffer. Its first use in English appeared around 1175 AD. Oddly enough the word is more frequently used in writing than in speech.

        Many of the modern applications of "passion" no longer convey the idea of suffering at all. Its present use is one describing an intense desire or enthusiasm, which is sometimes sexual in nature.

        The current understanding of passion often frames it as an overwhelming, potentially irrational, force. This contrasts with the historical view, which lacked judgment on the source (internal or external) or controllability of the driving force. This shift has arguably amplified the power associated with the word "passion."

        Originally, the term 'passion' implied an external influence compelling action or even suffering. In contrast, the modern definition remains ambiguous regarding the origin of the driving desire – whether it stems from within or is an external influence.

        The word's origin also encompassed intense desires. While its root suggests action driven by pain and suffering, it wasn't limited to that. Religious contexts like the "Passion of Christ" exemplify this association.

        Superficially, the modern definition might seem far removed from these historical uses. But a deeper examination reveals insights into passion's true nature. Consider passion as an all-consuming desire, one that compels us to endure hardship and sacrifice for its object.

The modern concept retains the notion of a driving force, often fueled by intense love or hatred.

        The historical scope of 'passion' encompassed a broader spectrum of emotions. It wasn't solely confined to suffering, but also embraced desires, anxieties, hope, grief, joy, love, and hatred. This versatility allowed it to capture a wider range of human experiences. The modern, narrower definition reflects a shift in how the term is used, potentially suggesting a loss of nuance in the English language.

        Furthermore, the original word functioned as both a noun and a verb. This versatility is evident in the works of William Shakespeare, who employed "passion" as a verb. The modern usage primarily restricts it to a noun. (Murrah)

The Only Story: Passion turns into Suffering

"Memory sorts and sifts according to the demands made on it by the rememberer. Do we have access to the algorithm of its priorities? Probably not. But I would guess that memory prioritises whatever is most useful to help keep the bearer of those memories going. So there would be a self-interest in bringing happier memories to the surface first."  

            Julian Barnes, a prominent contemporary British author, is known for his innovative approach to the novel form. Critics like Groes and Childs (2011) highlight his ability to "make it new" not just for himself but for the genre itself (p. 10). Each novel, as Childs argues, is an attempt to push boundaries and redefine what a novel can be (2011, p. 9). Barnes's 2018 work, The Only Story, exemplifies this ongoing exploration.

        While Barnes's thematic palette is wide-ranging (Childs, 2011, p. 4), The Only Story delves into familiar territory. As Guignery suggests (2006, p. 1), recurring themes in Barnes's work include obsession, love, the relationship between truth and fiction, and the elusiveness of the past (p. 1). In The Only Story, love takes center stage. The novel explores not only the nature of love but also the challenges of finding a context where it can truly flourish.

        The narrative opens with a quote from Dr. Samuel Johnson's 1755 dictionary. Johnson defines the novel as "a small tale, generally of love" (qtd. in Barnes, 2018, p. 9). Unlike Johnson's potentially ironic statement, Barnes's use of the quote doesn't seem to challenge the novel's association with love. Instead, as the story unfolds, Barnes argues that a compelling novel, like a captivating love story, delves into the complexities of human experience. By presenting love through a constantly evolving lens, Barnes invites readers to question their own assumptions about this fundamental human emotion. The opening page reinforces this central theme. The narrator addresses an imagined reader, foreshadowing the importance of storytelling and introspection in his exploration of love.

Would you rather love the more, and suffer the more; or love the less, and suffer the less?

That is, I think, finally, the only real question.

You may point out – correctly – that it isn’t a real question. Because we don’t have the

choice. If we had the choice, then there would be a question. But we don’t, so there isn’t. Who

can control how much they love? If you can control it, then it isn’t love. I don’t know what

you call it instead, but it isn’t love. (Barnes, 2018, p. 11)

        The narrator of The Only Story employs a series of rhetorical questions to engage the reader. These questions, along with their potential answers, nudge the reader towards a central idea: the most profound story we can tell is ultimately about love. The opening quote exemplifies this concept: "'Most of us have only one story to tell'" (Barnes, 2018, p. 11). The narrator acknowledges countless life experiences, but argues only one truly matters – the one centered on love.

        Despite repeated retellings, the narrator grapples with uncertainty. He readily admits this ongoing exploration: "I don't mean that only one thing happens to us... But there's only one that matters" (Barnes, 2018, p. 11). He questions whether this act of remembering, this act of storytelling, will finally unveil the truth about a love affair from five decades ago. "'The question then is: do all these retellings bring you closer to the truth of what happened, or move you further away? I'm not sure'" (Barnes, 2018, p. 11).

        This analysis explores how Julian Barnes' The Only Story portrays a dynamic and subjective experience of love. Drawing on Jacques Lacan's theories, the paper examines how the narrator's prolonged and distorted perspective shapes his understanding of love. Similarly, Julia Kristeva's concept of "shared singularity" is used to analyze the context of the narrator's youthful love affair and the factors that led to its collapse. The novel primarily focuses on the challenges faced by two individuals with vastly different egos and perspectives in attempting cohabitation, communication, and a sense of shared experience. Kristeva's framework helps us understand the inherent difficulties in reconciling established social norms with unconventional relationships. Ultimately, the analysis explores how the protagonists' failure to build a shared singularity contributes to the breakdown of their relationship.

        Julian Barnes' The Only Story can be seen as a three-part bildungsroman. Literary critic Michael Greaney highlights the significance of the number three in Barnes' work, suggesting a recurring pattern of self-exploration reflected in the novel's structure (2014, pp. 226-27). The novel delves into a single, transformative love story through a three-part lens. It explores both the specific experience and its lasting impact on the protagonist at key points in his life.

        The narrative dissects a failed romantic relationship spanning roughly eleven years. It delves into the subjective experience of love – the "what it feels like" aspect of being in love and living with it. The story explores the profound impact of first love on an individual's emotional and intellectual development, and how it shapes their understanding of love itself.

        The Only Story unfolds as a courtly tale narrated by Paul Roberts, a quintessential Barnesian character. As Greaney notes, Barnes often focuses on the "quirky lives of unattached persons" (2014, p. 227). Paul, a solitary figure grappling with a past love, recounts his journey of emotional growth. Through his reflections on love, he reveals how this experience shaped his emotional and cognitive landscape. He recounts the initial experience of first love and its enduring influence on his life and worldview.

            Like many retrospective narratives, Paul's story evolves into a process of recollection and reflection. His evolving understanding of love is shaped by his own shifting perspective at different stages of life. The narrative structure reinforces this concept. Part One, narrated in first person, depicts the birth of love. Part Two, primarily in second person, explores the challenges and potential demise of love. Finally, Part Three, narrated in third person, offers a more detached perspective on the aftermath and lasting effects of love. This shift in narrative voice reflects the protagonist's evolving understanding of love throughout his life.

            The Only Story employs a blend of narrative modes. The story unfolds through a mix of "showing" (direct presentation) and "telling" (mediated presentation) techniques. This allows the reader to experience the events both through the "experiencing-I" (the protagonist in the moment) and the "narrating-I" (the protagonist reflecting on the past). This approach aligns with Julian Barnes' known experimentation with narrative forms. As critic Guignery observes, Barnes "strives to explore new experiences and experiment with different narrative modes" in each novel (2006, p. 1).

            The novel also incorporates various narrative forms. It blends elements of fictional biography, fantasy, and the traditional novel. Childs highlights this aspect, praising Barnes as "one of the leading contemporary British writers to explore the diverse forms the novel can encompass" (2011, p. 7).

            The story's structure further emphasizes these diverse forms. The first part evokes a fairy-tale-like atmosphere, drawing connections to the romance genre. The second part adopts a more realistic approach, mirroring the classical realist novel. Finally, the last part delves into philosophical arguments, focusing on the constructed nature of memory and truth. These elements contribute to The Only Story's classification as a postmodernist work, a recurring theme in Barnes's fiction.

            Critics like Guignery and Roberts acknowledge the ongoing debate surrounding Barnes's work. They argue that his novels can be seen as representative of postmodernism. Barnes's work simultaneously upholds and subverts realistic conventions, possesses a strong element of self-reflection, and celebrates the literary past while viewing it with a critical eye .

Love, Shared Singularity, and The Only Story:

            The Only Story hinges on the narrator's memories of a love affair from his late teens and early adulthood. Through his act of remembering, he grapples with the realization that his youthful understanding of love differed significantly from his present perspective. Back then, his perception of love and his beloved was shaped by an idealized and imagined connection. The beloved functioned as a mirror, reflecting a desired sense of wholeness that the narrator felt he lacked. This concept of love built on imaginary fulfillment aligns with aspects of Lacanian theory.

            The novel portrays love not as a rational, controllable phenomenon but as an elusive and uncertain emotion. In this, Barnes's exploration aligns with Lacan's views on love. Lacan, who explored the concept of love throughout his work, associated it with notions of lack, incompleteness, and self-absorption. For Lacan, defining love definitively was a near-impossible task. He argued that "it is not possible to say anything meaningful or sensible about love" (paraphrased from Lacan, 1991, p. 57). He viewed love as a signifier without a fixed meaning or object. Lacan thus avoided presenting a single, unified theory of love, famously stating that "the moment one begins to speak about love, one descends into imbecility" (Lacan, 1999, p. 17). Despite his reservations, Lacan primarily used metaphors and figurative language to describe love.

            Lacan posits that love exists within the realm of imagination. He argues that individuals project their own desires onto others, believing the other person can fill a void they possess (Lacan, 1988). This dynamic often leads one person to "transfer" their love and emptiness onto the other, essentially attempting to possess their beloved as a means of fulfilling an idealized image (Lacan, 1988). Lacan describes this process as a "narcissistic relation" where one seeks to be loved by molding the other into a reflection of their desires (Lacan, 1977).

            The initial spark between Paul and Susan exemplifies this Lacanian concept. Their attraction stems from an imagined perception of each other, each fulfilling a projection of the other's desires. However, as Paul comes to terms with the reality that Susan cannot fulfill this fundamental need, their relationship crumbles. Lacan suggests this dynamic is inherent to love, stating that lovers "mutilate" each other by seeking something beyond the other person themself (Lacan, 1977).

            Beyond the complexities of love, The Only Story explores the clash between generations. The inherent uncertainties surrounding love itself are compounded by the generational differences between the protagonists. Their struggle to find common ground goes beyond individual quirks – their very worldviews are shaped by different eras.The narrator reflects on the youthful struggle to maintain a sense of oneness with his desired love interest. His narrative attempts to create in fiction what eluded him in reality – a perfect union. However, as his memories resurface and illusions fade, he recognizes the impossibility of achieving complete unity with his beloved. This act of storytelling allows him to see love as more than a self-absorbed emotion; it's also shaped by social and cultural factors.

            The incommensurability between the narrator and his beloved helps explain their fundamental disconnect. This rigid divide can be understood through the lens of Kristeva's concept of "singularity," where each individual possesses a unique and unmergeable set of experiences and perspectives. This analysis explores how Kristeva's concept of "shared singularity" sheds light on the failed relationship in The Only Story. In her interview with sociologist John Lechte, Kristeva expands on philosopher Hannah Arendt's concept (Lechte, 2004). Kristeva argues that life is more than mere biological existence; it's a symbolic existence shaped by personal narratives meant to be shared within the social sphere (Lechte, 2004, p. 157). In simpler terms, individual experience intertwines with storytelling and the act of sharing those stories within a community.

            The characters in The Only Story grapple with this very concept. Paul, the narrator, yearns to escape a predetermined way of life. However, his socio-cultural context discourages individuality in family and relationships. His village represents a community with a rigid, homogenous family structure (paraphrased from Lechte, 2004, p. 161). Kristeva emphasizes that "each person has the right to develop their unique identity and creativity" (paraphrased from Lechte, 2004, p. 163). However, she also stresses the importance of fostering connections and sharing experiences alongside this individual growth.This tension between individuality and shared experience is central to the breakdown of the narrator's relationship.

1] Love as a Catalyser of an Imaginary Relation:

            The narrator paints a picture of their love through the lens of a self-absorbed teenager. Sex is a central theme, and Paul views Susan as a reflection of his own desires rather than a separate person. He struggles to understand Susan's motivations and complexities, which foreshadows the relationship's eventual demise. Lacan's concept of love in the Imaginary Order is evident here. Paul projects his fantasies onto Susan, believing she can fulfill a void within him. This idealized version of love clashes with reality when their relationship is exposed, leading to social disapproval and ultimately their expulsion from the tennis club. Kristeva's idea of "shared singularity" also comes into play. While Paul and Susan attempt to create a unique connection, their inability to truly understand and share their individual experiences dooms their relationship. They lack the vocabulary to express the complexities of their situation, highlighting the challenges of love within a social context.

        Part one sets the stage for the narrator's exploration of love throughout the novel. By reflecting on his youthful naivety and self-centeredness, he paves the way for a deeper understanding of love's complexities in the chapters to come.

2] The Uncertain Examination of Love:

            In the second phase of his relationship with Susan, Paul confronts the complexities of love and the challenges of shared identity. The narrator adopts a predominantly second-person narrative style, reflecting on his experiences and thoughts from his early twenties. As Paul and Susan navigate their life together in London, their relationship evolves within the framework of the adult world, exposing Paul to the realities of love and partnership. Despite his initial romantic ideals, Paul grapples with the practical difficulties and societal norms that shape their relationship. Over time, he gains insight into Susan's character and the constraints she faces, leading to a shift in his perceptions and behavior. Despite his efforts to save their relationship, Paul ultimately decides to leave Susan, grappling with conflicting emotions and moral dilemmas. Through introspection and writing, he begins to understand the complexities of love and his role in Susan's life, embarking on a journey of self-discovery and reassessment.

3]  Reconstructed Memory of Love:

            In part three of "The Only Story," the narrator delves into his past experiences with Susan, revealing insights into his evolving understanding of love and identity. He reflects on the Lacanian perspective of love and the challenges of sharing singularity within a relationship. As he revisits memories and constructs his narrative, the narrator grapples with the fluid nature of truth and memory, acknowledging the unreliability of recollection. Despite the experimental narrative style, the third part serves as a reflection on love, memory, and personal growth. Through introspection and imagination, the narrator reconstructs his past with Susan, gaining new insights into his own character and emotions. Ultimately, he comes to terms with the complexities of love and the inevitability of change, finding peace in accepting his past decisions and embracing his future.

                                                            Conclusion:

            The Only Story explores the disillusionment of love and a concept similar to "shared singularity" through the unreliable lens of memory. Reflecting on the past, the narrator realizes his youthful romance was fueled by unmet needs and desires on both sides. Their inability to compromise for each other's wants ultimately doomed the relationship, mirroring a perspective on love where it fails to fill a fundamental emptiness. The narrator frames his experience as a unique event within the context of 1960s European culture. As a child of the sexual revolution, he embodies an emerging emphasis on individualism within his conservative society. However, the story portrays a village that discourages personal expression while simultaneously hindering connection. This stifles the possibility of recognizing and sharing unique experiences, creating a significant obstacle in their relationship. Their self-absorption prevents them from developing a deeper connection, which is crucial for a lasting romance.

            Beyond the growing incompatibility between the two characters, their social backgrounds further limit the possibility of a successful relationship. While their reasons differ, both struggle to share their unique perspectives. The narrator eventually recognizes his own selfishness and its role in the relationship's failure. He embodies a struggle with reconciling his values with those around him, including Susan and his family. This disconnection persists even in his storytelling, where a sense of shared experience is lacking. Consequently, he lives as a social outsider for much of his life, belonging to no community due to their reliance on mutual understanding. The narrator suggests that the true meaning of love might lie in the act of storytelling itself. By attempting to share his beloved's perspective and emotions through his narrative, he might finally unlock a deeper understanding of love.

Works Cited

Julian Barnes: Official Website, https://www.julianbarnes.com/. Accessed 24 April 2024.

Charles, Ron. “Book review: The Only Story, by Julian Barnes - The Washington Post.” Washington Post, 16 April 2018, https://www.washingtonpost.com/entertainment/books/if-flaubert-reimagined-cougar-town-this-is-the-novel-we-might-get/2018/04/16/f534b2ec-4106-11e8-8569-26fda6b404c7_story.html. Accessed 24 April 2024. Childes, Peter. Julian Barnes. Manchester University Press, 2011.

 Greaney, MichMael. "The oddness of Julian Barnes and the sense of an ending." English: Journal of the English Association, vol. 63, no. 242, 2014, pp. 225–240.

 Groes, Sebastian, and Peter Childs, editors. Julian Barnes: Contemporary Critical Perspectives. Continuum, 2011.

Guignery, Vanessa. The Fiction of Julian Barnes. Palgrave Macmillan, 2006.

Guignery, Vanessa, and Philip Roberts, editors. "Introduction." Conversations with Julian Barnes, University Press of Mississippi, 2009, pp. Ix-xv.

 Lacan, Jacques. The Seminar of Jacques Lacan Book XI: The Four Fundamental Concepts of Psychoanalysis. Edited by Jacques-Alain Miller, translated by Alan Sheridan, Norton and Company, 1977.

Lacan, Jacques. The Seminar of Jacques Lacan Book I: Freud’s Paper on Technique 1953- 1954. Translated by Hugh Alain-Miller, Cambridge University Press, 1988.

Lacan, Jacques. Seminar VIII: On Transference 1960-1961. Edited by Jacques-Alain Miller, Polity Press, 1991.

Lacan, Jacques. The Seminar of Jacques Lacan: On Feminine Sexuality, the Limits of Love and Knowledge (Encore) (Vol. Book XX). W. W. Norton & Company, 1999.

Lechte, John. Julia Kristeva: Live Theory. Continuum, 2004.

Murrah, Jeff. “Etymology of the Word "Passion."” Owlcation, 9 November 2023, https://owlcation.com/humanities/The-Etymology-of-Passion. Accessed 24 April 2024.Barnes, Julian. The Only Story. Vintage, 2018.

Pateman, Michael. Julian Barnes. Liverpool University Press, 2002.Stott, Cornelia. "The Sound of Truth: Constructed and Reconstructed Lives in English Novels since Julian Barnes’s Flaubert’s Parrot." Tectum Verlag Marburg, 2010.

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