Two years after the best-selling Arthur & George, Julian Barnes gives us a memoir on mortality that touches on faith and science and family as well as a rich array of exemplary figures who over the centuries have confronted the same questions he now poses about the most basic fact of life: its inevitable extinction.
If the fear of death is “the most rational thing in the world,” how does one contend with it? An atheist at twenty, an agnostic at sixty, Barnes looks into the various arguments for and against and with God, and at the bloodline whose archivist, following his parents’ death, he has become—another realm of mystery, wherein a drawer of mementos and his own memories (not to mention those of his philosopher brother) often fail to connect. There are other ancestors, too: the writers—“most of them dead, and quite a few of them French”—who are his daily companions, supplemented by composers and theologians and scientists whose similar explorations are woven into this account with an exhilarating breadth of intellect and felicity of spirit.
Deadly serious, masterfully playful, and surprisingly hilarious, Nothing to Be Frightened Of is a riveting display of how this supremely gifted writer goes about his business and a highly personal tour of the human condition and what might follow the final diagnosis.
"synopsis" may belong to another edition of this title.
Julian Barnes is the author of ten novels, two books of stories, two collections of essays, and a translation of Alphonse Daudet’s In the Land of Pain. His honors include the Somerset Maugham Award, the Geoffrey Faber Memorial Prize, and the E. M. Forster Award from the American Academy of Arts and Letters. In 2004 he was named Commandeur de l’Ordre des Arts et des Lettres by the French Ministry of Culture. He lives in London.Excerpt. © Reprinted by permission. All rights reserved.:
I don't believe in God, but I miss Him. That's what I say when the question is put. I asked my brother, who has taught philosophy at Oxford, Geneva, and the Sorbonne, what he thought of such a statement, without revealing that it was my own. He replied with a single word: "Soppy."
The person to begin with is my maternal grandmother, Nellie Louisa Scoltock, nee Machin. She was a teacher in Shropshire until she married my grandfather, Bert Scoltock. Not Bertram, not Albert, just Bert: so christened, so called, so cremated. He was a headmaster with a certain mechanical dash to him: a motorcycle-and-sidecar man, then owner of a Lanchester, then, in retirement, driver of a rather pompously sporty Triumph Roadster, with a three-person bench seat in front, and two bucket seats when the top was down. By the time I knew them, my grandparents had come south to be near their only child. Grandma went to the Women's Institute; she pickled and bottled; she plucked and roasted the chickens and geese that Grandpa raised. She was petite, outwardly unopinionated, and had the thickened knuckles of old age; she needed soap to get her wedding ring off. Their wardrobe was full of home-knitted cardigans, Grandpa's tending to feature more masculine cable stitch. They had regular appointments with the chiropodist, and were of that generation advised by dentists to have all their teeth out in one go. This was a normal rite of passage then: from being rickety-gnashered to fully porcelained in one leap, to all that buccal sliding and clacking, to social embarrassment and the foaming glass on the bedside table.
The change from teeth to dentures struck my brother and me as both grave and ribald. But my grandmother's life had contained another enormous change, never alluded to in her presence. Nellie Louisa Machin, daughter of a labourer in a chemical works, had been brought up a Methodist; while the Scoltocks were Church of England. At some point in her young adulthood, my grandmother had suddenly lost her faith and, in the smooth narration of family lore, found a replacement: socialism. I have no idea how strong her religious faith had been, or what her family's politics were; all I know is that she once stood for the local council as a socialist and was defeated. By the time I knew her, in the 1950s, she had progressed to being a communist. She must have been one of the few old-age pensioners in suburban Buckinghamshire who took the Daily Worker and--so my brother and I insisted to one another--fiddled the housekeeping to send donations to the newspaper's Fighting Fund.
In the late 1950s, the Sino-Soviet Schism took place, and com-munists worldwide were obliged to choose between Moscow and Peking. For most of the European faithful, this was not a difficult decision; nor was it for the Daily Worker, which received funding as well as directives from Moscow. My grandmother, who had never been abroad in her life, who lived in genteel bungalowdom, decided for undisclosed reasons to throw in her lot with the Chinese. I welcomed this mysterious decision with blunt selfinterest, since her Worker was now supplemented by China Reconstructs, a heretical magazine posted direct from the distant continent. Grandma would save me the stamps from the biscuity envelopes. These tended to celebrate industrial achievement--bridges, hydroelectric dams, lorries rolling off production lines--or else show various breeds of dove in peaceful flight.
My brother did not compete for such offerings, because some years previously there had been a Stamp-Collecting Schism in our home. He had decided to specialize in the British Empire. I, to assert my difference, announced that I would therefore specialize in a category which I named, with what seemed like logic to me, Rest of the World. It was defined solely in terms of what my brother didn't collect. I can no longer remember if this move was aggressive, defensive, or merely pragmatic. All I know is that it led to some occasionally baffling exchanges in the school stamp club among philatelists only recently out of short trousers. "So, Barnesy, what do you collect?" "Rest of the World."
My grandfather was a Brylcreem man, and the antimacassar on his Parker Knoll armchair--a high-backed number with wings for him to snooze against--was not merely decorative. His hair had whitened sooner than Grandma's; he had a clipped, military moustache, a metal-stemmed pipe, and a tobacco pouch which distended his cardigan pocket. He also wore a chunky hearing aid, another aspect of the adult world--or rather, the world on the farther side of adulthood--which my brother and I liked to mock. "Beg pardon?" we would shout satirically at one another, cupping hands to ears. Both of us used to look forward to the prized moment when our grandmother's stomach would rumble loudly enough for Grandpa to be roused from his deafness into the enquiry, "Telephone, Ma?" An embarrassed grunt later, they would go back to their newspapers. Grandpa, in his male armchair, deaf aid occasionally whistling and pipe making a hubble-bubble noise as he sucked on it, would shake his head over the Daily Express, which described to him a world where truth and justice were constantly imperilled by the Communist Threat. In her softer, female armchair--in the red corner--Grandma would tut-tut away over the Daily Worker, which described to her a world where truth and justice, in their updated versions, were constantly imperilled by Capitalism and Imperialism.
Grandpa, by this time, had reduced his religious observance to watching Songs of Praise on television. He did woodwork and gardened; he grew his own tobacco and dried it in the garage loft, where he also stored dahlia tubers and old copies of the Daily Express bound with hairy string. He favoured my brother, taught him how to sharpen a chisel, and left him his chest of carpentry tools. I can't remember him teaching (or leaving) me anything, though I was once allowed to watch while he killed a chicken in his garden shed. He took the bird under his arm, stroked it into calmness, then laid its neck on a green metal wringing machine screwed to the doorjamb. As he brought the handle down, he gripped the bird's body ever more tightly against its final convulsions.
My brother was allowed not just to watch, but also to participate. Several times he got to pull the lever while Grandpa held the bird. But our memories of the slaughter in the shed diverge into incompatibility. For me, the machine merely wrung the chicken's neck; for him, it was a junior guillotine. "I have a clear picture of a small basket underneath the blade. I have a (less clear) picture of the head dropping, some (not much) blood, Grandpa putting the headless bird on the ground, its running around for a few moments . . ." Is my memory sanitized, or his infected by films about the French Revolution? In either case, Grandpa introduced my brother to death--and its messiness--better than he did me. "Do you remember how Grandpa killed the geese before Christmas?" (I do not.) "He used to chase the destined goose round its pen, flailing at it with a crowbar. When he finally got it, he would, for good measure, lay it on the ground, put the crowbar across its neck, and tug on its head."
My brother remembers a ritual--never witnessed by me--which he called the Reading of the Diaries. Grandma and Grandpa each kept separate diaries, and of an evening would sometimes entertain themselves by reading out loud to one another what they had recorded on that very week several years previously. The entries were apparently of considerable banality but frequent disagreement. Grandpa: "Friday. Worked in garden. Planted potatoes." Grandma: "Nonsense. 'Rained all day. Too wet to work in garden.'"
My brother also remembers that once, when he was very small, he went into Grandpa's garden and pulled up all the onions. Grandpa beat him until he howled, then turned uncharacteristically white, confessed everything to our mother, and swore he would never again raise his hand to a child. Actually, my brother doesn't remember any of this--neither the onions, nor the beating. He was just told the story repeatedly by our mother. And indeed, were he to remember it, he might well be wary. As a philosopher, he believes that memories are often false, "so much so that, on the Cartesian principle of the rotten apple, none is to be trusted unless it has some external support." I am more trusting, or self-deluding, so shall continue as if all my memories are true.
Our mother was christened Kathleen Mabel. She hated the Mabel, and complained about it to Grandpa, whose explanation was that he "had once known a very nice girl called Mabel." I have no idea about the progress or regress of her religious beliefs, though I own her prayer book, bound together with Hymns Ancient and Modern in soft brown suede, each volume signed in surprising green ink with her name and the date: "Dec: 25th. 1932." I admire her punctuation: two full stops and a colon, with the stop beneath the "th" placed exactly between the two letters. You don't get punctuation like that nowadays.
In my childhood, the three unmentionable subjects were the traditional ones: religion, politics, and sex. By the time my mother and I came to discuss these matters--the first two, that is, the third being permanently off the agenda--she was "true blue" in politics, as I would guess she always had been. As for religion, she told me firmly that she didn't want "any of that mumbo-jumbo" at her funeral. So when the undertaker asked if I wanted the "religious symbols" removed from the crematorium wall, I told him I thought that this is what she would have wanted.
The past conditional, by the way, is a tense of which my brother is highly suspicious. Waiting for the funeral to start, we had, not an argument--this would have been against all family tradition--but an exchange wh...
"About this title" may belong to another edition of this title.
Book Description Knopf, 2008. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: "[Nothing to Be Frightened Of] sports a dazzling blend of wry humor, keen philosophy and perceptive observations as Barnes ruminates about the inevitability of death and what it all means." Verna Noel Jones,Rocky Mountain News "Brilliantly written and also funny.the book is cunningly composed, in fact held together in a rather Proustian fashion.Barnes has an extremely lively mind, and a distinctive voice, which gives a certain welcome jauntiness or gaiety to his darker musings." Frank Kermode,TheNew York Review of Books "Barbarously intelligent [and] a rare thing in literature.marvelously engaging, even uplifting.Briskly, rigorously, this unusual book gives us something to think about until that nothingness comes knocking." John Freeman, NPR "A delicious mix of personal reminiscence, family history, literary criticism, and philosophical speculation." Frank Wilson,The Philadelphia Inquirer "Strange and marvelous.Despite[its] mordant wit, erudition, and typically British understatement, the fear and trembling at its heart are always palpable.It issogoodan item of high literary quality and, paradoxically, great good humor." Dan Menaker, Barnes & Noble Review "Surprisingly jocularalthough also dead earnest.highly literary, thoughtful but playful." Heller McAlpin,San Francisco Chronicle "Barnes is a great conversationalist, and this is a humorous book in spite of its serious subject." Vikram Johri,St. Petersburg Times "An elegant memoir and meditation, a deep seismic tremor of a book that keeps rumbling and grumbling in the mind for weeks thereafter.What gives this book life and keeps the reader happily churning forward is [Barnes's] affection for the people who wander in and out.I will say a prayer for retail success. It is a beautiful and funny book, still booming in my head." Garrison Keillor,The New York Times Book Review(front cover) "Erudite and entertaining." J. David Slocum,Playboy "A brilliant bible of elegant despair.that most urgent kind of self-help manual: the one you must read before you die." Tim Adams,Men's Vogue "Barnes is a writer of impulsive insights, many of them remarkable.of humane irony, antic imagination, and unsettling perceptiveness. He constructs a many-leveled scaffolding of argument, memoir, literary reference, and musings all around the dark pit." Richard Eder,The Boston Globe "For those who think that facing death is life's most pressing test, Barnes is an amiable and articulate companion [who] sees humor in the impossibility of finding lasting comfort.His contemplation of death invariably becomes a treatise on living." Sean Kinch,The Tennessean "Beautifully done.an extended meditation on human mortality, but one that is neither clinical nor falsely consoling. Instead, the witty and melancholic author simply converses with us about our most universal fear. Michael Dirda,The Washington Post "Very entertaining and, best of all, wholesomely provocative." Vince Passaro,O, The Oprah Magazine "[A] satisfyingly riverine blend of inquiry and apologia.Barnesreflective and erudite, a stellar stylist and a piquant witconfronts the paradoxes, fantasies, horrors, mystery, and inevitability of death in this bracing, mordantly funny, and expansive mix of musings, literary criticism, and memoir." Donna Seaman,Booklist "In this virtuosic memoir, readers will find themselves granted access to an unexpectedly lar. Bookseller Inventory # ABE_book_new_0307269639
Book Description Knopf, 2008. Hardcover. Book Condition: New. Bookseller Inventory # DADAX0307269639
Book Description Knopf, 2008. Hardcover. Book Condition: New. book. Bookseller Inventory # 0307269639
Book Description Knopf. Hardcover. Book Condition: New. 0307269639 New Condition *** Right Off the Shelf | Ships within 2 Business Days ~~~ Customer Service Is Our Top Priority! - Thank you for LOOKING :-). Bookseller Inventory # 1BOOK2P98117
Book Description Knopf, 2008. Hardcover. Book Condition: New. Bookseller Inventory # P110307269639