The Lemon Table

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The setting range from nineteenth-century Sweden and Russia to a suburban 'Barnet Shop', where the narrator measures out his life in haircuts, and a South Bank concert hall where a music lover carries out an obsessive campaign of revenge against those who cough in concerts. In 'Knowing French' a fiercely independent eighty-year-old begins a correspondence with an author - 'Dear Dr. Barnes' - that enriches both their lives. A woman reads elaborate recipes to her sick husband in 'Appetite'; a retired soldier in ...
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2004 1st Edition 1. pp. 213. Physical description. : 213 p.; 23 cm. Subject: Aging-Fiction. Older people-Fiction. Aged-Fiction. Summary: If Julian Barnes' new collection of ... stories has a theme it is 'rage in age'. Among the Chinese, the lemon is the symbol of death. At the 'lemon table' (a coinage of Sibelius, protagonist of the final story) it is permissible-indeed obligatory-to talk about death, and each of Barnes' characters is facing death, but each in a very different way. The settings range from eighteenth-century Sweden and nineteenth-century Russia to the 'Barnet Shop', a hairdressing salon where an old man measures out his life in haircuts, or a South Bank concert hall where a music lover carries out an obsessive campaign against those who cough in concerts. In "Knowing French", an eighty-four-year old woman, a former teacher 'incarcerated' in an old people's home, begins a correspondence with an author-"Dear Dr Barnes"-that enriches both their lives. In "Appetite", a woman reads elaborate recip Read more Show Less

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The Lemon Table

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Overview

The setting range from nineteenth-century Sweden and Russia to a suburban 'Barnet Shop', where the narrator measures out his life in haircuts, and a South Bank concert hall where a music lover carries out an obsessive campaign of revenge against those who cough in concerts. In 'Knowing French' a fiercely independent eighty-year-old begins a correspondence with an author - 'Dear Dr. Barnes' - that enriches both their lives. A woman reads elaborate recipes to her sick husband in 'Appetite'; a retired soldier in 'Hygiene' makes his annual trip to attend a regimental dinner, run errands for his wife and spend the afternoon with a tart called Babs.
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Editorial Reviews

Thomas Mallon
In ''Cross Channel,'' Barnes began warming up to this geriatric material with stories like ''Experiment'' and ''Tunnel.'' Now 58, he may be ideally positioned for the subject matter, just close enough to be agitated by its looming personal relevance and still far enough away for it to require the imaginative feats he performs in this compact book. The Lemon Table, in ways both modest and grand, helps sustain a reader's faith in literature as the truest form of assisted living.
The New York Times Sunday Book Review
Michiko Kakutani
The best of these tales are beautifully wrought elegies for lost youth, lost promises and lost loves. They are stories that reveal an emotional depth new to the writings of the usually cerebral Mr. Barnes, who has been best known in the past for dazzling literary entertainments like Flaubert's Parrot and sly comedies of manners like Talking It Over.
The New York Times
Publishers Weekly
Polished and classically structured, the 11 exquisite stories in this collection are as stylish as any of Barnes's creations, while also possessed of a pleasing heft. Told from a dazzling array of viewpoints, each is underpinned with a familiar Barnes concern: death. In "The Revival," the Russian writer Turgenev ruminates on lost love at the end of his life (as Tolstoy looks on), while in "Hygiene" a WWII vet revisits more than just his old mates during an annual trip to London for his regimental dinner. The past is seen from the perspective of the barber's chair in "A Short History of Hairdressing," and from two entirely separate angles in "The Things You Know," about a pair of widows who mentally savage each other over the course of a polite breakfast. Fans of Barnes's conversational novels, such as Love, Etc. and Talking It Over, may be nonplussed by the Dinesen-like sonority of the prose in "The Story of Mats Israelson" ("When Havlar Berggren succumbed to akvavit, frivolity and atheism, and transferred ownership of the third stall to an itinerant knife-grinder, it was on Berggren, not the knife-grinder, that disapproval fell, and a more suitable appointment was made in exchange for a few riksdaler"), but readers willing to follow Barnes's imagination will not be disappointed. With the exception of the plodding last story, "The Silence" (in which the title phrase is explained: "Among the Chinese, the lemon is the symbol of death"), the author handles his dark subject matter with grace and humor. This is not a morbid trip. Instead, Barnes always has his eye on something unusual, and the reader is taken for a delightful ride. Agent, Helen Brann. (July 9) Copyright 2004 Reed Business Information.
Library Journal
Booker Prize-nominated Barnes's new collection is on audio for the first time. Read by British actors Timothy West and Prunella Scales. (Print review: LJ 6/1/04) Copyright 2004 Reed Business Information.
Kirkus Reviews
Eleven old-fashioned stories that take their time but are riveting, muscular, and real. The ever-capable Barnes (Love, Etc., 2001; the nonfiction Something to Declare, 2002, etc., etc.) is able to write knowingly on an extraordinary range of subjects-from, say, an aristocratic tale of 19th-century French stoicism and sexuality ("Bark") to the story of a married British military pensioner who falls in love-depending on how you define that-with the London prostitute he sees once a year ("Hygiene"). The approaching death of a great modern composer-on personal terms with Stravinsky and Ralph Vaughn Williams-is every bit as incisive, observant, and moving in its way ("The Silence") as is the tale of long-ago Sweden and a 23-year love affair that goes unconsummated, unrecognized, and, in the end, pathetically misunderstood ("The Story of Mats Israelson"). Stories that might be merely topical or trendy in lesser hands bear real fruit in Barnes's, as witness "Appetite," a tale about the ravages of Alzheimer's that never comes even close to the dread magazine-article tone that so often haunts and diminishes such efforts; or "The Fruit Cage," the genuinely compelling story of an aging woman (her grown son narrates) who may indeed actually be a physical abuser of her husband. Even prospectively lesser material can grow authoritative and large with Barnes's treatment-like his look at hair-cutting then and now ("A Short History of Hairdressing"), or his one-act-playlike portrayal of two widows, each thinking she has the goods on the other ("The Things You Know"). Most moving of all may be "Knowing French," made up of letters written by an octogenarian to "Mr. Novelist Barnes." The writer is living inan old folks' home (an "Old Folkery"), but she demonstrates such brio, pizzazz, introspection, and natural learnedness-all as she's about to die-that no reader can help but love her. Fine stories, well rounded and grounded. Six of the eleven have appeared in The New Yorker. Agent: Helen Brann/Helen Brann Agency
From the Publisher
"A master at work, a writer in absolute control of his material. . . . Sweet, sour, bitter, wistful, ruminative, comic, elegiac–The Lemon Table is . . . a joy to read." –San Francisco Chronicle"Beautifully wrought elegies for lost youth, lost promises and lost loves [that] attest to Mr. Barnes's growing depth as a writer, his newly embraced ability to create stories that are as affecting as they are cunning, as emotionally resonant as they are prettily fashioned." –New York Times"Filled with emotional resonance and hard-won wisdom, The Lemon Table is a virtuoso performance of remarkable clarity and insight." –Los Angeles Times Book Review"Mr. Barnes handles his somber material with compassion, verve, shrewd intelligence and a sharp sense of irony. . . . Reading [these stories] is an experience more enlivening than depressing, [even as] mortality itself is ever present and truthfully confronted. –The Wall Street Journal"Barnes is a top-flight precisionist, [with] the steady, pleasing wit of English comic realism, in which sheer intelligence and acute observation carry the whole production, line after line, page after page . . . The Lemon Table, in ways both modest and grand, helps sustain a reader's faith in literature as the truest form of assisted living." –New York Times Book Review
"These gracefully constructed stories are subtle, erudite, and wise; they elevate us because there are few such generous observers of humanity. In a word: The Lemon Table is Barnes at his profound, dexterous best." –Esquire"[Julian Barnes is] one of the most gifted contemporary shapers of prose, possessed of a remarkable limberness of form and voice, and an unconstrained literary imagination." –The New Republic
"The stories in The Lemon Table are quite old-fashioned–in the best sense of the word. They remind one of the deceptive simplicity of the stories of Chekhov or that prodigy of the absurd, Nikolai Gogol. With their underlying classicism, their commitment to truth and beauty, Barnes's stories also harken back to a pre-existential time in which hope was still, in a tragic sort of way, possible." –Boston Globe
"Barnes can telescope the whole world through a single lens . . . Each story unfolds with masterly speed, diving quickly to the heart of the matter." –Louisville Courier-Journal“Remarkable meditations on loneliness and aging.” –St. Petersburg Times
“Julian Barnes has many interests [and] a variety of talents that enable him to manage them all . . . The Lemon Table leaves one in no doubt as to Barnes's virtuosity.”–The Guardian
"[A] brave, well-crafted book . . . Barnes describes the realities of aging with precision and a knack for matching narrative device to psychological reality." –People

"'Were you as young as you felt, or as old as you looked?' This is the conundrum at the heart of The Lemon Table, [with] assorted pensioners, catty widows, randy old army majors, and noise-sensitive concertgoers forcefully exercising their right not to go gently into that good night." –Vogue

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Product Details

  • ISBN-13: 9780224071987
  • Publisher: Random House Adult Trade Publishing Group
  • Publication date: 1/1/2004
  • Pages: 224
  • Product dimensions: 5.75 (w) x 8.82 (h) x 0.87 (d)

Meet the Author

Julian Barnes
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.

Biography

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 ex–police 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 1980–82 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.

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    1. Also Known As:
      Dan Kavanagh
    2. Hometown:
      London, England
    1. Date of Birth:
      January 19, 1946
    2. Place of Birth:
      Leicester, England
    1. Education:
      Degree in modern languages from Magdalen College, Oxford, 1968

Read an Excerpt

A Short History of Hairdressing

1

That first time, after they moved, his mother had come with him. Presumably to examine the barber. As if the phrase “short back and sides, with a little bit off the top” might mean something different in this new suburb. He’d doubted it. Everything else seemed the same: the torture chair, the surgical smells, the strop and the folded razor — folded not in safety but in threat. Most of all, the torturer-in-chief was the same, a loony with big hands who pushed your head down till your windpipe nearly snapped, who prodded your ear with a bamboo finger. “General inspection, madam?” he said greasily when he’d finished. His mother had shaken off the effects of her magazine and stood up. “Very nice,” she said vaguely, leaning over him, smelling of stuff. “I’ll send him by himself next time.” Outside, she had rubbed his cheek, looked at him with idle eyes, and murmured, “You poor shorn lamb.”

Now he was on his own. As he walked past the estate agent’s, the sports shop and the half-timbered bank, he practised saying, “Short back and sides with a little bit off the top.” He said it urgently, without the comma; you had to get the words just right, like a prayer. There was one and threepence in his pocket; he stuffed his handkerchief in tighter to keep the coins safe. He didn’t like not being allowed to be afraid. It was simpler at the dentist’s: your mother always came with you, the dentist always hurt you, but afterwards he gave you a boiled sweet for being a good boy, and then back in the waiting room you pretended in front of the other patients that you were made of stern stuff. Your parents were proud of you. “Been in the wars, old chap?” his father would ask. Pain let you into the world of grown-up phrases. The dentist would say, “Tell your father you’re fit for overseas. He’ll understand.” So he’d go home and Dad would say, “Been in the wars, old chap?” and he’d answer, “Mr. Gordon says I’m fit for overseas.”

He felt almost important going in, with the adult spring of the door against his hand. But the barber merely nodded, pointed with his comb to the line of high-backed chairs, and resumed his standing crouch over a white-haired geezer. Gregory sat down. His chair creaked. Already he wanted to pee. There was a bin of magazines next to him, which he didn’t dare explore. He gazed at the hamster nests of hair on the floor.

When his turn came, the barber slipped a thick rubber cushion onto the seat. The gesture looked insulting: he’d been in long trousers now for ten and a half months. But that was typical: you were never sure of the rules, never sure if they tortured everyone the same way, or if it was just you. Like now: the barber was trying to strangle him with the sheet, pulling it tight round his neck, then shoving a cloth down inside his collar. “And what can we do for you today, young man?” The tone implied that such an ignominious and deceitful woodlouse as he obviously was might have strayed into the premises for any number of different reasons.

After a pause, Gregory said, “I’d like a haircut, please.”

“Well, I’d say you’d come to the right place, wouldn’t you?” The barber tapped him on the crown with his comb; not painfully, but not lightly either.

“Short-back-and-sides-with-a-little-bit-off-the-top-please.”

“Now we’re motoring,” said the barber.

They would only do boys at certain times of the week. There was a notice saying No Boys on Saturday Mornings. Saturday afternoons they were closed anyway, so it might just as well read No Boys on Saturdays. Boys had to go when men didn’t want to. At least, not men with jobs. He went at times when the other customers were pensioners. There were three barbers, all of middle age, in white coats, dividing their time between the young and the old. They greased up to these throat-clearing old geezers, made mysterious conversation with them, put on a show of being keen on their trade. The old geezers wore coats and scarves even in summer, and gave tips as they left. Gregory would watch the transaction out of the corner of his eye. One man giving another man money, a secret half-handshake with both pretending the exchange wasn’t being made.

Boys didn’t tip. Perhaps that was why barbers hated boys. They paid less and they didn’t tip. They also didn’t keep still. Or at least, their mothers told them to keep still, they kept still, but this didn’t stop the barber bashing their heads with a palm as solid as the flat of a hatchet and muttering, “Keep still.” There were stories of boys who’d had the tops of their ears sliced off because they hadn’t kept still. Razors were called cut-throats. All barbers were loonies.

“Wolf cub, are we?” It took Gregory a while to realize that he was being addressed. Then he didn’t know whether to keep his head down or look up in the mirror at the barber. Eventually he kept his head down and said, “No.”

“Boy scout already?”

“No.”

“Crusader?”

Gregory didn’t know what that meant. He started to lift his head, but the barber rapped his crown with the comb. “Keep still, I said.” Gregory was so scared of the loony that he was unable to answer, which the barber took as a negative. “Very fine organization, the Crusaders. You give it a thought.”

Gregory thought of being chopped up by curved Saracen swords, of being staked out in the desert and eaten alive by ants and vultures. Meanwhile, he submitted to the cold smoothness of the scissors — always cold even when they weren’t. Eyes tight shut, he endured the tickly torment of hair falling on his face. He sat there, still not looking, convinced that the barber should have stopped cutting ages ago, except that he was such a loony he would probably carry on cutting and cutting until Gregory was bald. Still to come was the stropping of the razor, which meant that your throat was going to be cut; the dry, scrapy feel of the blade next to your ears and on the back of your neck; the fly-whisk shoved into your eyes and nose to get the hair out.

Those were the bits that made you wince every time. But there was also something creepier about the place. He suspected it was rude. Things you didn’t know about, or weren’t meant to know about, usually turned out to be rude. Like the barber’s pole. That was obviously rude. The previous place just had an old bit of painted wood with colours twirling round it. The one here worked by electricity, and moved in whirly circles all the time. That was ruder, he thought. Then there was the binful of magazines. He was sure some of them were rude. Everything was rude if you wanted it to be. This was the great truth about life which he’d only just discovered. Not that he minded. Gregory liked rude things.

Without moving his head, he looked in the next-door mirror at a pensioner two seats away. He’d been yakking on in the sort of loud voice old geezers always had. Now the barber was bent over him with a small pair of round-headed scissors, cutting hairs out of his eyebrows. Then he did the same with his nostrils; then his ears. Snipping great twigs out of his lugholes. Absolutely disgusting. Finally, the barber started brushing powder into the back of the geezer’s neck. What was that for?

Now the torturer-in-chief had the clippers out. That was another bit Gregory didn’t like. Sometimes they used hand-clippers, like tin-openers, squeak grind squeak grind round the top of his skull till his brains were opened up. But these were the buzzer-clippers, which were even worse, because you could get electrocuted from them. He’d imagined it hundreds of times. The barber buzzes away, doesn’t notice what he’s doing, hates you anyway because you’re a boy, cuts a wodge off your ear, the blood pours all over the clippers, they get a short-circuit and you’re electrocuted on the spot. Must have happened millions of times. And the barber always survived because he wore rubber-soled shoes.

At school they swam naked. Mr. Lofthouse wore a pouch-thing so they couldn’t see his whanger. The boys took off all their clothes, had a shower for lice or verrucas or something, or being smelly in the case of Wood, then jumped into the pool. You leaped up high and landed with the water hitting your balls. That was rude, so you didn’t let the master see you doing it. The water made your balls all tight, which made your willy stick out more, and afterwards they towelled themselves dry and looked at one another without looking, sort of sideways, like in the mirror at the barber’s. Everyone in the class was the same age, but some were still bald down there; some, like Gregory, had a sort of bar of hair across the top but nothing on their balls; and some, like Hopkinson and Shapiro, were as hairy as men already, and a darker colour, brownish, like Dad’s when he’d peeped round the side of a stand-up. At least he had some hair, not like Baldy Bristowe and Hall and Wood. But how did Hopkinson and Shapiro get like that? Everyone else had willies; Hopkinson and Shapiro already had whangers.

He wanted to pee. He couldn’t. He mustn’t think about peeing. He could hold out till he got home. The Crusaders fought the Saracens and delivered the Holy Land from the Infidel. Like Infidel Castro, sir? That was one of Wood’s jokes. They wore crosses on their surcoats. Chainmail must have been hot in Israel. He must stop thinking that he could win a gold medal in a peeing-high-against-a-wall competition.

“Local?” said the barber suddenly. Gregory looked at him in the mirror for the first proper time. Red face, little moustache, glasses, yellowy hair the colour of a school ruler. Quis custodiet ipsos custodes, they’d been taught. So who barbers barbers? You could tell this one was a perve as well as a loony. Everyone knew there were millions of perves out there. The swimming master was a perve. After the lesson, when they were shivering in their towels with their balls all tight and their willies plus two whangers sticking out, Mr. Lofthouse would walk the length of the poolside, climb on to the springboard, pause till he had their full attention, with his huge muscles and tattoo and arms out and pouch with strings round his buttocks, then take a deep breath, dive in and glide underwater the length of the pool. Twenty-five yards underwater. Then he’d touch and surface and they’d all applaud — not that they really meant it — but he’d ignore them and practise different strokes. He was a perve. Most of the masters were probably perves. There was one who wore a wedding-ring. That proved he was.

And so was this one. “Do you live locally?” he was saying again. Gregory wasn’t falling for that. He’d be coming round to sign him up for the Scouts or the Crusaders. Then he’d be asking Mum if he could take Gregory camping in the woods — except there’d only be one tent, and he’d tell Gregory stories about bears, and even though they’d done geography and he knew bears died out in Britain at about the time of the Crusades, he’d half-believe it if the perve told him there was a bear.

“Not for long,” Gregory replied. That wasn’t too clever, he knew at once. They’d only just moved here. The barber would say sneery things to him when he kept on coming in, for years and years and years. Gregory flicked a glance up at the mirror, but the perve wasn’t giving anything away. He was doing an absent-minded last snip. Then he dug into Gregory’s collar and shook it to make sure as much hair as possible fell down inside his shirt. “Think about the Crusaders,” he said, as he started pulling out the sheet. “It might suit you.”

Gregory saw himself reborn from beneath the shroud, unchanged except that his ears now stuck out more. He started to slide forward on the rubber cushion. The comb snapped against his crown, harder now that he had less hair.

“Not so fast, young fellow-me-lad.” The barber ambled down the length of the narrow shop and came back with an oval mirror like a tray. He dipped it to show the back of Gregory’s head. Gregory looked into the first mirror, into the second mirror, and out the other side. That wasn’t the back of his head. It didn’t look like that. He felt himself blush. He wanted to pee. The perve was showing him the back of someone else’s head. Black magic. Gregory stared and stared, his colour getting brighter, staring at the back of someone else’s head, all shaved and sculpted, until he realized that the only way to get home was to play the perve’s game, so he took a final glance at the alien skull, looked boldly higher up the mirror at the barber’s indifferent spectacles, and said, quietly, “Yes.”

From the Hardcover edition.

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Table of Contents

A Short History of Hairdressing 1
The Story of Mats Israelson 23
The Things You Know 49
Hygiene 67
The Revival 85
Vigilance 103
Bark 121
Knowing French 137
Appetite 159
The Fruit Cage 175
The Silence 201
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Sort by: Showing all of 3 Customer Reviews
  • Posted July 11, 2014

    Excellent

    One more excellent Julian Barnes work. I have read several of his hooks and I have never been disappointed.

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  • Anonymous

    Posted September 29, 2012

    Good!

    I like this book, it's worth reading it.

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  • Anonymous

    Posted September 2, 2004

    A Most Eloquent Collection of Stories About Life's Cycle

    Julian Barnes is an elegant, profound, humorous, sensitive, intelligent, and incredibly gifted writer! THE LEMON TABLE is a collection of eleven short stories that probe the concept of aging and death in an endlessly inventive fashion. Each of these well-crafted stories is unique: rarely have the concerns of the elderly been verbalized with such insight. The way these characters who populate this variety of tales embody mental deterioration, illness, frustration of waning body functions, coping with changes imposed by the cycle of friends and loved ones dying - these are the insights that in Barnes capable hands are never cloying but revelatory. In 'Knowing French' an eighty something lady in a 'Old Folkery' corresponds with the author: 'Main reasons for dying: it's what others expect when you reach my age; impending decrepitude and senility; waste of money - using up inheritance - keeping together brain-dead incontinent bad of old bones; decreased interest in The News, famines, wars, etc.; fear of falling under total power of Sgt. Major; desire to Find Out about Afterwards (or not?).' Yet a later letter: 'I suppose, if you are Mad, and you die, & there is an Explanation waiting, they have to make you unmad first before you can understand it. Or do you think being Mad is just another veil of consciousness around our present world which has nothing to do with any other one?' Or in another story 'The Fruit Cage' a son is trying to understand the problems his aging parents face when after fifty years of marriage the husband wants to live with another woman; 'Why make the assumption that the heart shuts down alongside the genitals? Because we want - need - to see old age as a time of serenity? I now think this is one of the great conspiracies of youth. Not just of youth, but of middle age too, of every single year until that moment when we admit to being ourselves. And it's a wider conspiracy because the old collude in our belief.'Even though Barnes' subject of age and death may seem a morbid topic, these beautifully written stories have a wealth of humor and warmth and dreamy substance. The final story relates a composer's inability to finish his 8th symphony (?Sibelius?) and uses symbols of death (the lemon, flying cranes) in a most poetic way. This is one of the finest collections of short stories I've read this year. Highly recommended on every level.

    0 out of 1 people found this review helpful.

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