4
" Not merely hope, but any burdensome yearning: ambition, hatred, love (especially love) - how rarely do our emotions meet the object they seem to deserve? How hopelessly we signal; how dark the sky; how big the waves. We are all lost at see, washed between hope and despair, hailing something that may never come to rescue us. Catastrophe has become art; but this is no reducing process. It is freeing, enlarging, explaining. Catastrophe has become art: that is, after all, what it is for. "
― Julian Barnes , A History of the World in 10½ Chapters
6
" 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. "
― Julian Barnes , A History of the World in 10½ Chapters
10
" How do you turn catastrophe into art? Nowadays the process is automatic. A nuclear plant explodes? We'll have a play on the London stage within a year. A President is assissinated? You can have the book or the film or the filmed book or booked film. War? Send in the novelists. A series of gruesome murders? Listen for the tramp of the poets. We have to understand it, of course, this catastrophe; to understand it, we have to imagine it, so we need the imaginative arts. But we also need to justify it and forgive it, this catastrophe, however minimally. Why did it happen, this mad act of Nature, this crazed human moment? Well, at least it produced art. Perhaps, in the end, that's what catastrophe is for. "
― Julian Barnes , A History of the World in 10½ Chapters
11
" I love you." For a start, we'd better put these words on a high shelf; in a square box behind glass which we have to break with our elbow; in a bank. We shouldn't leave them lying around the house like a tube of vitamin C. If the words come too easily to hand, we'll use them without thought; we won't be able to resist. Oh, we say we won't, but we will. We'll get drunk, or lonely, or - likeliest of all - plain damn hopeful, and there are the words gone, used up, grubbied. We think we might be in love and we're trying out the words to see if they're appropriate? How can we know what we think till we hear what we say? Come off it; that won't wash. These are grand words; we must make sure we deserve them. Listen to them again: "I love you. "
― Julian Barnes , A History of the World in 10½ Chapters
15
" Listen to them again: ‘I love you.’ Subject, verb, object: the unadorned, impregnable sentence. The subject is a short word, implying the self-effacement of the lover. The verb is longer but unambiguous, a demonstrative moment as the tongue flicks anxiously away from the palate to release the vowel. The object, like the subject, has no consonants, and is attained by pushing the lips forward as if for a kiss. ‘I love you.’ How serious, how weighted, how freighted it sounds. "
― Julian Barnes , A History of the World in 10½ Chapters
