“Art belongs to everybody and nobody. Art belongs to all time and no time. Art belongs to those who create it and those who savour it. Art no more belongs to the People and the Party than it once belonged to the aristocracy and the patron. Art is the whisper of history, heard above the noise of time. Art does not exist for art’s sake: it exists for people’s sake.”
― Julian Barnes, quote from The Noise of Time
“Sarcasm is irony which has lost its soul”
― Julian Barnes, quote from The Noise of Time
“Art is the whisper of history, heard above the noise of time.”
― Julian Barnes, quote from The Noise of Time
“Perhaps this was one of the tragedies life plots for us: it is our destiny to become in old age what in youth we would have most despised.”
― Julian Barnes, quote from The Noise of Time
“It had been a slow and painful business, discovering that the theory of love did not match the reality of life. It was like expecting to be able to write a symphony because you had once read a handbook of composition.”
― Julian Barnes, quote from The Noise of Time
“In an ideal world, a young man should not be an ironical person. At that age, irony prevents growth, stunts the imagination. It is best to start life in a cheerful and open state of mind, believing in others, being optimistic, being frank with everyone about everything. And then, as one comes to understand things and people better, to develop a sense of irony. The natural progression of human life is from optimism to pessimism; and a sense of irony helps temper pessimism, helps produce balance, harmony. But”
― Julian Barnes, quote from The Noise of Time
“Being a hero was much easier than being a coward. To be a hero, you only had to be brave for a moment - when you took out the gun, threw the bomb, pressed the detonator, did away with the tyrant, and away with yourself as well. But to be a coward was to embark on a career that lasted a lifetime. You couldn't ever relax. You had to anticipate the next occasion when you would have to make excuses for yourself, dither, cringe, reacquaint yourself with the taste of rubber boots and the state of your own fallen, abject character. Being a coward required pertinacity, persistence, a refusal to change - which made it, in a way, a kind of courage.”
― Julian Barnes, quote from The Noise of Time
“The strong cannot help confronting; the less strong cannot help evading.”
― Julian Barnes, quote from The Noise of Time
“History was repeating itself: the first time as farce, the second time as tragedy.”
― Julian Barnes, quote from The Noise of Time
“Rather, what happened to human illusions was that they crumbled, they withered away. It was a long and wearisome process, like a toothache reaching far into the soul. But you can pull out a tooth and it will be gone. Illusions, however, even when dead, continue to rot and stink within us. We cannot escape their taste and smell. We carry them around with us all the time.”
― Julian Barnes, quote from The Noise of Time
“Sarcasm was dangerous to its user, identifiable as the language of the wrecker and the saboteur. But irony – perhaps, sometimes, so he hoped – might enable you to preserve what you valued, even as the noise of time became loud enough to knock out window-panes.”
― Julian Barnes, quote from The Noise of Time
“Art is the whisper of history, heard above the noise of time. Art does not exist for art's sake: it exists for people's sake.”
― Julian Barnes, quote from The Noise of Time
“How easy it was to be a Communist when you weren’t living under Communism!”
― Julian Barnes, quote from The Noise of Time
“...and who's to say what would have been for the best? You only found out afterwards, when it was too late.”
― Julian Barnes, quote from The Noise of Time
“Those in favour rarely stayed in favour; it was just a question of when they fell.”
― Julian Barnes, quote from The Noise of Time
“Music — good music, great music — had a hard, irreducible purity to it. It might be bitter and despairing and pessimistic, but it could never be cynical. If music is tragic, those with asses’ ears accuse it of being cynical. But when a composer is bitter, or in despair, or pessimistic, that still means he believes in something.”
― Julian Barnes, quote from The Noise of Time
“If you turned your back on irony, it curdled into sarcasm. And what good was it then? Sarcasm was irony which had lost its soul.”
― Julian Barnes, quote from The Noise of Time
“The engineers of human souls'. There were two main problems. The first was that many people did not want their souls to be egineered, thank you very much. They were content with their souls being left as they were when they had come into this world; and when you tried to lead them, they resisted. Come to this free open-air concert, comrade. Oh, we really think you should attend. Yes, of course, it is voluntary, but it might be a mistake if you didn't show your face...
And the second problem with engineering human souls was more basic. It was this: who engineers the engineers?”
― Julian Barnes, quote from The Noise of Time
“In Jewish folk music, despair is disguised as the dance. And so, truth’s disguise was irony.”
― Julian Barnes, quote from The Noise of Time
“Tragedies in hindsight look like farces.”
― Julian Barnes, quote from The Noise of Time
“Уметност припада сваком и ником. Уметност припада сваком времену и не припада ниједном. Уметност припада онима који је стварају и онима који је доживљавају. Уметност је шапат историје, који надјачава шум времена. Уметност не постоји ради уметности: она постоји за добро људи.”
― Julian Barnes, quote from The Noise of Time
“It had all begun, very precisely, he told his mind, on the morning of the 28th of January 1936, at Arkhangelsk railway station. No, his mind responded, nothing begins just like that, on a certain date at a certain place. It all began in many places, and at many times, some even before you were born, in foreign countries, and in the minds of others. —”
― Julian Barnes, quote from The Noise of Time
“It seemed such a brief while ago that they were all laughing at Professor Nikolayev's definition of a musicologist. Imagine we are eating scrambled eggs, the Professor used to say. My cook, Pasha, has prepared them, and you and I are eating them. Along comes a man who has not prepared them and is not eating them, but he talks about them as if he knows everything about them - that is a musicologist.”
― Julian Barnes, quote from The Noise of Time
“Music escapes from words: that is its purpose, and its majesty.”
― Julian Barnes, quote from The Noise of Time
“between the principle and its implementation often lay some anguish.”
― Julian Barnes, quote from The Noise of Time
“And in these times, people were always in danger of becoming less than fully themselves. If you terrorised them enough, they became something else, something diminished and reduced: mere techniques for survival. And so, it was not just an anxiety, but often a brute fear that he experienced: the fear that love's last days had come.”
― Julian Barnes, quote from The Noise of Time
“Theories were clean and convincing and comprehensible. Life was messy and full of nonsense.”
― Julian Barnes, quote from The Noise of Time
“Apart from these parental physical jerks, he did not train his body; he merely inhabited it. A friend had once shown what he called gymnastics for the intelligentsia. You took a box of matches and threw its contents on the floor, then bent down and picked them up, one by one. The first time he tried it himself, he lost patience and stuffed all the matches back in handfuls. He persevered, but the next time, just as he was bending down, the telephone went, and he was needed at once; so the housekeeper was detailed to pick up the matches instead.”
― Julian Barnes, quote from The Noise of Time
“I am a worm in comparison with His Excellency. I am a worm.’ ‘Yes, that’s just it, you are a worm indeed.”
― Julian Barnes, quote from The Noise of Time
Julian Barnes
Born place: in Leicester, The United Kingdom
Born date January 19, 1946
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“I say that humans are the only ones in this world that need everything within it...But there is nothing in the world that needs us for its survival. We aren't the masters of the earth. We're the servants.”
― Joseph Boyden, quote from The Orenda
“Being a hero means ignoring how silly you feel.”
― Diana Wynne Jones, quote from Fire and Hemlock
“Studentdom, he felt, must pass its own Examinations and define its own Commencement--a slow, most painful process, made the more anguishing by bloody intelligences like the Bonifacists of Siegfrieder College. Yet however it seemed at times that men got nowhere, but only repeated class by class the mistakes of their predecessors, two crucial facts about them were at once their hope and the limitation of their possibility, so he believed. One was their historicity: the campus was young, the student race even younger, and by contrast with the whole of past time, the great collegiate cultures had been born only yesterday. The other had to do with comparative cyclology, a field of systematic speculation he could not review for me just then, but whose present relevance lay in the correspondency he held to obtain between the life-history of individuals and the history of studentdom in general. As the embryologists maintained that ontogeny repeats phylogeny, so, Max claimed, the race itself--and on a smaller scale, West-Campus culture--followed demonstrably--in capital letters, as it were, or slow motion--the life-pattern of its least new freshman. This was the basis of Spielman's Law--ontogeny repeats cosmogeny--and there was much more to it and to the science of cyclology whereof it was first principle. The important thing for now was that, by his calculations, West-Campus as a whole was in mid-adolescence...
'Look how we been acting,' he invited me, referring to intercollegiate political squabbles; 'the colleges are spoilt kids, and the whole University a mindless baby, ja? Okay: so weren't we all once, Enos Enoch too? And we got to admit that the University's a precocious kid. If the history of life on campus hadn't been so childish, we couldn't hope it'll reach maturity.' Studentdom had passed already, he asserted, from a disorganized, pre-literate infancy (of which Croaker was a modern representative, nothing ever being entirely lost) through a rather brilliant early childhood ('...ancient Lykeion, Remus, T'ang...') which formed its basic and somewhat contradictory character; it had undergone a period of naive general faith in parental authority (by which he meant early Founderism) and survived critical spells of disillusionment, skepticism, rationalism, willfulness, self-criticism, violence, disorientation, despair, and the like--all characteristic of pre-adolescence and adolescence, at least in their West-Campus form. I even recognized some of those stages in my own recent past; indeed, Max's description of the present state of West-Campus studentdom reminded me uncomfortably of my behavior in the Lady-Creamhair period: capricious, at odds with itself, perverse, hard to live with. Its schisms, as manifested in the Quiet Riot, had been aggravated and rendered dangerous by the access of unwonted power--as when, in the space of a few semesters, a boy finds himself suddenly muscular, deep-voiced, aware of his failings, proud of his strengths, capable of truly potent love and hatred--and on his own. What hope there was that such an adolescent would reach maturity (not to say Commencement) without destroying himself was precisely the hope of the University.”
― John Barth, quote from Giles Goat-Boy
“I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life. I moved the dial up and down and Roy Orbison's voice came blasting out of the small speakers. His new song, "Running Scared," exploded into the room.
Orbison, though, transcended all the genres - folk, country, rock and roll or just about anything. His stuff mixed all the styles and some that hadn't even been invented yet. He could sound mean and nasty on one line and then sing in a falsetto voice like Frankie Valli in the next. With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop and he meant business. One of his previous songs, "Ooby Dooby" was deceptively simple, but Roy had progressed. He was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal. Typically, he'd start out in some low, barely audible range, stay there a while and then astonishingly slip into histrionics. His voice could jar a corpse, always leave you muttring to yourself something like, "Man, I don't believe it." His songs had songs within songs. They shifted from major to minor key without any logic. Orbison was deadly serious - no pollywog and no fledgling juvenile. There wasn't anything else on the radio like him.”
― Bob Dylan, quote from Chronicles, Volume One
“More Yes. What would you do? Cut a great road through the law to get after the Devil? Roper I’d cut down every law in England to do that! More (roused and excited) Oh? (Advances on Roper.) And when the last law was down, and the Devil turned round on you where would you hide, Roper, the laws all being flat? (Leaves him.) This country’s planted thick with laws from coast to coast – Man’s laws, not God’s—and if you cut them down – and you’re just the man to do it – d’you really think you could stand upright in the winds that would blow then? (Quietly.) Yes, I’d give the Devil benefit of law, for my own safety’s sake.”
― Robert Bolt, quote from A Man for All Seasons
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