In smart, rhythmic prose, Julian Barnes can deconstruct English-French relations, marriage, or simply the history of the world -- he can, and has, in a diverse and inventive body of work that includes Flaubert's Parrot, Metroland, and Letters from London.
Julian Barnes once told London's Observer that he writes fiction "to tell beautiful, exact, and well-constructed lies which enclose hard and shimmering truths." Indeed, this is what Barnes does, sometimes spiking his lies with fact -- most notably in Flaubert's Parrot, the novel that became his breakthrough book. The story of a retired doctor obsessed with the French author, it combines a literary detective story with a character study of its detective, including facts about Flaubert along the way.
Before Flaubert's Parrot propelled him into the company of Ian McEwan and Martin Amis in British authordom, Barnes had been moderately successful with the novels Metroland (which later became the 1997 movie starring Emily Watson and Christian Bale) and Before She Met Me. He was also known to Brits as a newspaper TV critic. Parrot and Barnes's subsequent "Letters from London" in The New Yorker helped expand the author's Stateside following.
"A lot of novelists set up a kind of franchise, and turn out a familiar product," friend and fellow author Jay McInerney told the Guardian in 2000. "But what I like about Jules's work is that he's like an entrepreneur who starts up a new company every time out." Among other ambitious themes, Barnes has explored the collapse of communism (The Porcupine) the Disneyfication of culture (England, England), the simple dynamics of relationships (Talking It Over and its sequel, Love, Etc.), and the connections between art, religion, and death (The History of the World in 10 1/2 Chapters).
Barnes has also produced collections of essays, a translation of Alphonse Daudet's In the Land of Pain, and a family memoir (Nothing to Be Frightened Of) that also serves as a meditation on mortality.
Good To Know
In 2000, a cybersquatting professor acquired the Internet rights to julianbarnes.com and several other authors' domain names; Barnes later won his name back, and the domain is now an informational site run by a fan with Barnes's permission. Barnes had protested the professor's actions, accusing him of usurpation; but his opponent might have responded by quoting from Barnes's own (albeit satirical) England, England: "Indeed, wasn't there something old-fashioned about the whole concept of ownership, or rather its acquisition by formal contract, in which title is received in exchange for consideration given?.... It would have been unfair to call Sir Jack Pitman a barbarian, though some did; but there stirred within him a longing to revisit pre-classical, pre-bureaucratic methods of acquiring ownership. Methods such as theft, conquest and pillage, for example."
Barnes wrote four mystery novels under the pseudonym Dan Kavanagh, all of which are now out of print; the novels starred Duffy, a bisexual expolice officer. Kavanagh's bio read in part: "Having devoted his adolescence to truancy, venery and petty theft, he left home at seventeen and signed on as a deckhand on a Liberian tanker." Kavanagh also happens to be the last name of Barnes's agent and wife, Pat.
Barnes was a deputy literary editor under Martin Amis at the New Statesman from 198082 and was also a lexicographer for the Oxford English Dictionary. Amis and Barnes later had a falling-out that became fodder for the press when Amis wrote about it in his memoir, Experience; Barnes is mum on the subject, but the disagreement arose when Amis defected from Barnes's wife to another agent.
Barnes has a cameo in the film Bridget Jones's Diary as himself, but in a lesser role than he has in Helen Fielding's book. In the book, Bridget is flummoxed upon encountering Barnes and embarrasses herself; but the more recognizable Salman Rushdie was substituted for Barnes in the film version.