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The Sense of an Ending Hardcover – January 1, 2011
Purchase options and add-ons
- Print length167 pages
- LanguageEnglish
- PublisherKnopf
- Publication dateJanuary 1, 2011
- Dimensions5.43 x 0.75 x 7.75 inches
- ISBN-109780307957122
- ISBN-13978-0307957122
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Editorial Reviews
Review
“A page turner, and when you finish you will return immediately to the beginning . . . Who are you? How can you be sure? What if you’re not who you think you are? What if you never were? . . . At 163 pages, The Sense of an Ending is the longest book I have ever read, so prepare yourself for rereading. You won’t regret it.” —The San Francisco Chronicle
“Dense with philosophical ideas . . . it manages to create genuine suspense as a sort of psychological detective story . . . Unpeeling the onion layers of the hero’s life while showing how [he] has sliced and diced his past in order to create a self he can live with. —Michiko Kakutani, The New York Times
“Ferocious. . . . a book for the ages.” —Cleveland Plain Dealer
“An elegantly composed, quietly devastating tale about memory, aging, time and remorse. . . . Offers somber insights into life’s losses, mistakes and disappointments in a piercing, thought provoking narrative. Bleak as this may sound, the key word here—the note of encouragement—is ‘insights.’ And this beautiful book is full of them.” —NPR
“With his characteristic grace and skill, Barnes manages to turn this cat-and-mouse game into something genuinely suspenseful.” —The Washington Post
“[A] jewel of conciseness and precision. . . . The Sense of an Ending packs into so few pages so much that the reader finishes it with a sense of satisfaction more often derived from novels several times its length.” –The Los Angeles Times
“Elegiac yet potent, The Sense of an Ending probes the mysteries of how we remember and our impulse to redact, correct – and sometimes entirely erase – our pasts. . . . Barnes’s highly wrought meditation on aging gives just as much resonance to what is unknown and unspoken as it does to the momentum of its own plot.” –Vogue
"Deliciously intriguing . . . with complex and subtle undertones [and] laced with Barnes' trademark wit and graceful writing." —The Washington Times
“Ominous and disturbing. . . . This outwardly tidy and conventional story is one of Barnes’s most indelible [and] looms oppressively in our minds.” –The Wall Street Journal
"Brief, beautiful....That fundamentally chilling question - Am I the person I think I am? -turns out to be a surprisingly suspenseful one.... As Barnes so elegantly and poignantly revels, we are all unreliable narrators, redeemed not by the accuracy of our memories but by our willingness to question them." —Julie Wittes Schlack, The Boston Globe.
"A brilliant, understated examination of memory and how it works, how it compartmentalizes and fixes impressions to tidily store away..... Barnes reminds his readers how fragile is the tissue of impressions we conveniently rely upon as bedrock." —Tom Zelman, Minneapolis Star Tribune
About the Author
www.julianbarnes.com
Excerpt. © Reprinted by permission. All rights reserved.
– a shiny inner wrist;
– steam rising from a wet sink as a hot frying pan is laughingly tossed into it;
– gouts of sperm circling a plughole, before being sluiced down the full length of a tall house;
– a river rushing nonsensically upstream, its wave and wash lit by half a dozen chasing torchbeams;
– another river, broad and grey, the direction of its flow disguised by a stiff wind exciting the surface;
– bathwater long gone cold behind a locked door. This last isn’t something I actually saw, but what you end up remembering isn’t always the same as what you have witnessed.
We live in time – it holds us and moulds us – but I’ve never felt I understood it very well. And I’m not referring to theories about how it bends and doubles back, or may exist elsewhere in parallel versions. No, I mean ordinary, everyday time, which clocks and watches assure us passes regularly: tick-tock, click-clock. 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.
* * *
I’m not very interested in my schooldays, and don’t feel any nostalgia for them. But school is where it all began, so I need to return briefly to a few incidents that have grown into anecdotes, to some approximate memories which time has deformed into certainty. If I can’t be sure of the actual events any more, I can at least be true to the impressions those facts left. That’s the best I can manage.
There were three of us, and he now made the fourth. We hadn’t expected to add to our tight number: cliques and pairings had happened long before, and we were already beginning to imagine our escape from school into life. His name was Adrian Finn, a tall, shy boy who initially kept his eyes down and his mind to himself. For the first day or two, we took little notice of him: at our school there was no welcoming ceremony, let alone its opposite, the punitive induction. We just registered his presence and waited.
The masters were more interested in him than we were. They had to work out his intelligence and sense of discipline, calculate how well he’d previously been taught, and if he might prove ‘scholarship material’. On the third morning of that autumn term, we had a history class with Old Joe Hunt, wryly affable in his three-piece suit, a teacher whose system of control depended on maintaining sufficient but not excessive boredom.
‘Now, you’ll remember that I asked you to do some preliminary reading about the reign of Henry VIII.’ Colin, Alex and I squinted at one another, hoping that the question wouldn’t be flicked, like an angler’s fly, to land on one of our heads. ‘Who might like to offer a characterisation of the age?’ He drew his own conclusion from our averted eyes. ‘Well, Marshall, perhaps. How would you describe Henry VIII’s reign?”
Our relief was greater than our curiosity, because Marshall was a cautious know-nothing who lacked the inventiveness of true ignorance. He searched for possible hidden complexities in the question before eventually locating a response.
‘There was unrest, sir.’
An outbreak of barely controlled smirking; Hunt himself almost smiled.
‘Would you, perhaps, care to elaborate?’
Marshall nodded slow assent, thought a little longer, and decided it was no time for caution. ‘I’d say there was great unrest, sir.’
‘Finn, then. Are you up in this period?’
The new boy was sitting a row ahead and to my left. He had shown no evident reaction to Marshall’s idiocies.
‘Not really, sir, I’m afraid. But there is one line of thought according to which all you can truly say of any historical event – even the outbreak of the First World War, for example – is that “something happened”.’
‘Is there, indeed? Well, that would put me out of a job, wouldn’t it?’ After some sycophantic laughter, Old Joe Hunt pardoned our holiday idleness and filled us in on the polygamous royal butcher.
At the next break, I sought out Finn.‘I’m Tony Webster.’ He looked at me warily. ‘Great line to Hunt.’ He seemed not to know what I was referring to. ‘About something happening.’
‘Oh. Yes. I was rather disappointed he didn’t take it up.’
That wasn’t what he was supposed to say.
Another detail I remember: the three of us, as a symbol of our bond, used to wear our watches with the face on the inside of the wrist. It was an affectation, of course, but perhaps something more. It made time feel like a personal, even a secret, thing.We expected Adrian to note the gesture, and follow suit; but he didn’t.
Later that day – or perhaps another day – we had a double English period with Phil Dixon, a young master just down from Cambridge. He liked to use contemporary texts, and would throw out sudden challenges.‘“Birth, and Copulation, and Death” – that’s what T. S. Eliot says it’s all about. Any comments?’ He once compared a Shakespearean hero to Kirk Douglas in Spartacus. And I remember how, when we were discussing Ted Hughes’s poetry, he put his head at a donnish slant and murmured,‘Of course, we’re all wondering what will happen when he runs out of animals.’ Sometimes, he addressed us as ‘Gentlemen’. Naturally, we adored him.
That afternoon, he handed out a poem with no title, date or author’s name, gave us ten minutes to study it, then asked for our responses.
‘Shall we start with you, Finn? Put simply, what would you say this poem is about?’
Adrian looked up from his desk. ‘Eros and Thanatos, sir.’
‘Hmm. Go on.’
‘Sex and death,’ Finn continued, as if it might not just be the thickies in the back row who didn’t understand Greek. ‘Or love and death, if you prefer.The erotic principle, in any case, coming into conflict with the death principle. And what ensues from that conflict. Sir.’
I was probably looking more impressed than Dixon thought healthy.
‘Webster, enlighten us further.’
‘I just thought it was a poem about a barn owl, sir.’
This was one of the differences between the three of us and our new friend. We were essentially taking the piss, except when we were serious. He was essentially serious, except when he was taking the piss. It took us a while to work this out.
Adrian allowed himself to be absorbed into our group, without acknowledging that it was something he sought. Perhaps he didn’t. Nor did he alter his views to accord with ours. At morning prayers he could be heard joining in the responses while Alex and I merely mimed the words, and Colin preferred the satirical ploy of the pseudo-zealot’s enthusiastic bellow.The three of us considered school sports a crypto-fascist plan for repressing our sex-drive; Adrian joined the fencing club and did the high jump. We were belligerently tone-deaf; he came to school with his clarinet. When Colin denounced the family, I mocked the political system, and Alex made philosophical objections to the perceived nature of reality, Adrian kept his counsel – at first, anyway. He gave the impression that he believed in things. We did too – it was just that we wanted to believe in our own things, rather than what had been decided for us. Hence what we thought of as our cleansing scepticism.
The school was in central London, and each day we travelled up to it from our separate boroughs, passing from one system of control to another. 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. None of this, of course, was ever stated: the genteel social Darwinism of the English middle classes always remained implicit.
‘Fucking bastards, parents,’ Colin complained one Monday lunchtime. ‘You think they’re OK when you’re little, then you realise they’re just like . . .’
‘Henry VIII, Col?’ Adrian suggested.We were beginning to get used to his sense of irony; also to the fact that it might be turned against us as well.When teasing, or calling us to seriousness, he would address me as Anthony; Alex would become Alexander, and the unlengthenable Colin shortened to Col.
‘Wouldn’t mind if my dad had half a dozen wives.’
‘And was incredibly rich.’
‘And painted by Holbein.’
‘And told the Pope to sod off.’
‘Any particular reason why they’re FBs?’ Alex asked Colin.
‘I wanted us to go to the funfair. They said they had to spend the weekedn gardening.’
Right: fucking bastards. Except to Adrian, who listened to our denunciations, but rarely joined in. And yet, it seemed to us, he had more cause than most. His mother had walked out years before, leaving his dad to cope with Adrian and his sister. This was long before the term ‘singleparent family’ came into use; back then it was ‘a broken home’, and Adrian was the only person we knew who came from one. This ought to have given him a whole storetank of existential rage, but somehow it didn’t; he said he loved his mother and respected his father. Privately, the three of us examined his case and came up with a theory: that the key to a happy family life was for there not to be a family – or at least, not one living together. Having made this analysis, we envied Adrian the more.
In those days, we imagined ourselves as being kept in some kind of holding pen, waiting to he released into our lives. And when that 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.
In the meantime, we were book-hungry, sex-hungry, meritocratic, anarchistic. All political and social systems appeared to us corrupt, yet we declined to consider an alternative other than hedonistic chaos. Adrian, however, pushed us to believe in the application of thought to life, in the notion that principles should guide actions. Previously, Alex had been regarded as the philosopher among us. He had read stuff the other two hadn’t, and might, for instance, suddenly declare, ‘Whereof we cannot speak, thereof must we remain silent.’ Colin and I would consider this idea in silence for a while, then grin and carry on talking. But now Adrian’s arrival dislodged Alex from his position – or rather, gave us another choice of philosopher. If Alex had read Russell and Wittgenstein, Adrian had read Camus and Nietzsche. I had read George Orwell and Aldous Huxley; Colin had read Baudelaire and Dostoevsky. This is only a slight caricature.
Yes, of course we were pretentious – what else is youth for? We used terms like ‘Weltanschauung’ and ‘Sturm und Drang’, enjoyed saying ‘That’s philosophically self-evident’, and assured one another that the imagination’s first duty was to be transgressive. Our parents saw things differently, picturing their children as innocents suddenly exposed to noxious influence. So Colin’s mother referred to me as his ‘dark angel’; my father blamed Alex when he found me reading The Communist Manifesto; Colin was fingered by Alex’s parents when they caught him with a hard-boiled American crime novel. And so on. It was the same with sex. Our parents thought we might be corrupted by one another into becoming whatever it was they most feared: an incorrigible masturbator, a winsome homosexual, a recklessly impregnatory libertine. On our behalf they dreaded the closeness of adolescent friendship, the predatory behaviour of strangers on trains, the lure of the wrong kind of girl. How far their anxieties outran our experience.
One afternoon Old Joe Hunt, as if picking up Adrian’s earlier challenge, asked us to debate the origins of the First World War: specifically, the responsibility of Archduke Franz Ferdinand’s assassin for starting the whole thing off. Back then, we were most of us absolutists. We liked Yes v No, Praise v Blame, Guilt v Innocence – or, in Marshall’s case, Unrest v Great Unrest. We liked a game that ended in a win and loss, not a draw. And so for some, the Serbian gunman, whose name is long gone from my memory, had one hundred per cent individual responsibility: take him out of the equation, and the war would never have happened. Others preferred the one hundred per cent responsibility of historical forces, which had placed the antagonistic nations on an inevitable collision course: ‘Europe was a powder keg waiting to blow’, and so on. The more anarchic, like Colin, argued that everything was down to chance, that the world existed in a state of perpetual chaos, and only some primitive storytelling instinct, itself doubtless a hangover from religion, retrospectively imposed meaning on what might or might not have happened.
Hunt gave a brief nod to Colin’s attempt to undermine everything, as if morbid disbelief was a natural by-product of adolescence, something to be grown out of. Masters and parents used to remind us irritatingly that they too had once been young, and so could speak with authority. It’s just a phase, they would insist. You’ll grow out of it; life will teach you reality and realism. But back then we declined to acknowledge that they had ever been anything like us, and we knew that we grasped life – and truth, and morality, and art – far more clearly than our compromised elders.
‘Finn, you’ve been quiet. You started this ball rolling. You are, as it were our Serbian gunman.’ Hunt paused to let the allusion take effect. ‘Would you care to give us the benefit of your thoughts?’
‘I don’t know, sir.’
‘What don’t you know?’
‘Well, in one sense. I can’t know what it is that I don’t know. That’s philosophically self-evident.’ He left one of those slight pauses in which we again wondered if he was engaged in subtle mockery or a high seriousness beyond the rest of us.‘Indeed, isn’t the whole business of ascribing responsibility a kind of cop-out? We want to blame an individual so that everyone else is exculpated. Or we blame a historical process as a way of exonerating individuals. Or it’s all anarchic chaos, with the same consequence. It seems to me that there is – was – a chain of individual responsibilities, all of which were necessary, but not so long a chain that everybody can simply blame everyone else. But of course, my desire to ascribe responsibility might be more a reflection of my own cast of mind than a fair analysis of what happened.That’s one of the central problems of history, isn’t it, sir? The question of subjective versus objective interpretation, the fact that we need to know the history of the historian in order to understand the version that is being put in front of us.’
There was a silence. And no, he wasn’t taking the piss, not in the slightest.
Old Joe Hunt looked at his watch and smiled. ‘Finn, I retire in five years. And I shall be happy to give you a reference if you care to take over.’ And he wasn’t taking the piss either.
Product details
- ASIN : 0307957128
- Publisher : Knopf (January 1, 2011)
- Language : English
- Hardcover : 167 pages
- ISBN-10 : 9780307957122
- ISBN-13 : 978-0307957122
- Item Weight : 9.5 ounces
- Dimensions : 5.43 x 0.75 x 7.75 inches
- Best Sellers Rank: #93,489 in Books (See Top 100 in Books)
- #1,445 in Psychological Fiction (Books)
- #1,683 in Coming of Age Fiction (Books)
- #6,880 in Literary Fiction (Books)
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About the author

Julian Barnes is the author of nine novels, including Metroland, Flaubert's Parrot, A History of the World in 10 ½ Chapters, England, England and Arthur and George, and two collections of short stories, Cross Channel and The Lemon Table.
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- the fear of "not getting it" the fear that the point of our lives and the realization that all you held to be true was just a illusion/delusion. OK OK--Now i know this is not an original thought- i see many agree with this.
First let me say I loved the book until i got to the end. Then I was frustrated and felt oddly betrayed. Why? bc it didn't make sense, so i had to check like all of us did, what the heck happened here? So I went back and read it again and again, and did some work on thinking about this. This is how it went.
I concluded the focus on plot was entirely wrong--the book was wonderful and thought provoking and meaningful,-- i loved the book-until the end why-- because i wanted answers-- i didnt get them and hence felt let down and the book sucked-- this was the first time i read it-- second and third reading i realized how much i still enjoyed reading it, because it was thought provoking, and the prose beautiful - and that's what makes a great novel for me. as masters of our own history---- the sense of an ending (for a second forget that was the title) made total sense to me.
and i assure you i read, highlighted did everything as a lawyer to get the facts/plot straight, going back charting out the histories and timelines to absolute no conclusion. or if you will, "nothing that would hold up in court'-
- and that's when i realized i maybe overlooked the obvious--- julian barnes or any author knows how to tie a plot together-- most of us have been readers our own lives-- we know an author of this caliber could not have unintentionally created these gargantuan gaps-- which must mean he did it intentionally-- and not like some of the reviews said to" just make it work",-- it's obvious from his previous work he's not 'that' kind of author---so was it possible that i missed the point? I think it's about the sense of ending self delusion-- and that's it.
the point is we think we are all right in our interpretations of our histories, our certainty of our life and the way we perceive it. we are tony.
the ending wasnt about the plot at all-- i finally realized (being a lawyer that was the hardest thing for me-- i needed it to be tight and make sense- hence my research on this particular thread to answer the same relevant questions)
i think it was more about us (the readers) along with tony "not getting it". The focus of the discussion is all on how it was supposed to make sense -- but there is a possibility that it was not about that at all-- about tony's end of self delusion/illusion and making the whole thing understood. we the readers are tony. the book is a reflection of our perceptions/illusions/ whatever, but in the end it has to make sense.
How many times in the book did tony say "if this were a novel" etc etc. How many times did he refer to "would this hold up in a court of law"-- isn't is apparent that barnes is saying this is NOT supposed to make sense. The only obvious answer if you think this through is that tony's desperation "to get it" is much like the readers desperation as well-- we don't get it do we? Or maybe we do. When you run out of trying to make sense of it in a linear and logical way, then you have to go outside of that and that leaves me with one answer --that this was intended by the author.
the ending or the whole book was about as many others have said-- just the end of illusion/self-delusion, and most importantly- we are just all interpreting the past to our own advantage/disadvantage-- which is the point of the book-- and the point of the ending or maybe beginning--
julian barnes is no novice to tight storytelling- the reason of the ending and i believe it was the author's intent to keep the answers vague and open to interpretation-- possibly laughing to see if we the readers "would never get it, never have, and never will." I believe the answer is right in front of us. and perhaps the point he was trying to get accross-- are you focusing on your reliance on tight plotlines (like we perceive our life to be mapped out like tony does/did) handing you your answers so you dont have to think at all, or getting the message that this life doesn't make sense, much like this book doesn't make sense, but the journey was reading it and developing as tony did by understanding the gaps in memory and perception and self identity??
the "sense" in the sense of an ending could just refer to the point that the book ended, the questions like life and character to be continuously and consciously examined-answers we will not receive no matter how many times we re-examine this book or our lives- which in all irony we all are doing reading this book.
What was it that ended really? Not the mystery of Adrian etc--not the 500 pounds--the only ending was the book with tony still on a journey-- his wasn't over--- or rather everyman's journey-who we all are in the end. and when does that ever end? there is no ending right? does this make sense? and does it have to?
Instead, it is intensely compelling and disturbing, a thought-provoking book that demands you reflect on your own life, your own past, your own memories.
The book is divided into two parts. That’s the kind of meaningless piece of information that normally alerts the reader of a review that the reviewer has nothing meaningful to say, but it is important here because the first part is a more or less straight forward account of a sequence of events in the narrator’s youth as he remembers them. The second part, almost twice as long as the first, is the narrator’s attempt to unravel the skein of memory and to reconcile reality both with memory and with what Faulkner once called “the irrevocable might-have-been.” And therein lies the book’s genius.
Memory is tenuous and all too unreliable, sometimes even recent memory. It is the secular reason why I don’t believe in the death penalty (I also have religious objections): it is all too easy for memory to deceive us, to trick us into believing A when it was really B all along. I was once involved in a criminal police investigation and asked to give certain information. When it came to describing the suspect’s car, I answered with great certainty that it was brand new and bright red. I remember the blank looks on officers’ faces. The suspect’s car was brand new and bright blue. I had seen it, I had seen it clearly. I had even stood looking at it for several minutes, but because it was a new model, magazines were filled with ads, and television commercials ran on every network, showing bright red models and memory had conflated the two in my mind.
In the same way, one of the key points in The Sense of an Ending hinges on a letter which the narrator remembers one way in Part One, but which we—and he—discover in Part Two to have been very different than his memory would have it. (The phrasing of that sentence should give you a clue to what the reality was.)
The letter is pivotal because the narrator believes it to have set off a sequence of events he deeply regrets, and he is forced to reexamine his own story of himself. And that is what Barnes is asking us to do, to determine if the history of our lives is accurate, or if we have made convenient cuts and edits, or perhaps added a few cunning and subtle embellishments over the years, to diminish this painful reality here or that uncomfortable truth over there. We all long to be a little better than we are, and the stories of our lives, the stories we tell ourselves and others, reflect that longing, consciously or unconsciously.
In Atonement, Ian McEwan’s central character wants desperately to undo something she did as a child, something she too deeply regrets, and that novel ends with recognition of the futility of trying to change the past. We do terrible things, sometimes, intentionally or unintentionally, and we must learn to live with the consequences of those mistakes. Julian Barnes is also writing about living with consequences, about living with ourselves as we really are, and his narrator, like the narrator of Atonement, finally accepts that. But unlike the narrator of Atonement, Barnes’ narrator does not deliberately create a lie to satisfy his longing, unless you consider pushing the past aside—storing it in an unused closet of the mind—a kind of lie. Instead, his encounter with the reality of the past is thrust upon him and he must slowly come to grips with what really was, some of which may have been partially his own doing, some of which was not.
As long as I’m comparing the two novels, I find Ian McEwan’s writing to be much more emotionally engaging than Julian Barnes’. I read somewhere once that Barnes’ brother is a philosopher, and I can readily believe it because that kind of detached, cerebral quality permeates everything I have read by Barnes, including The Sense of an Ending. That is not to be construed as praise: I find the absence of emotional engagement and sensory detail off-putting, though I have no way of knowing if that is intentional on the author’s part or not. As my friend Dan Bronson (Confessions of a Hollywood Nobody) likes to say about writing (quoting Herman Melville’s letter to Nathaniel Hawthorn discussing writing): “I stand for the heart. To the dogs with the head! I had rather be a fool with a heart than Jupiter Olympus with his head.” Atonement is packed with such empathetic characters, including the little girl who ruins the lives around her, that you ache for them all. The Sense of an Ending has characters whose personalities are so reserved as to make them almost unknowable, and whose motivations and emotions we never fully understand, while the narrator, Tony, is completely emotionless in a frightfully British, stiff upper lip sort of way, so that at the end, when a bombshell is set off in what he thinks he understands about his life and actions and the memories of those two things, he simply ruminates on the advantages of thin chips (French fries) over fat ones. That’s not the best way to stir emotions in a reader either.
And yet… I have never before read a book straight through twice in a row, so clearly something in me was engaged, perhaps not by my heartstrings, but engaged nonetheless.
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Reviewed in Spain on May 10, 2023










