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Book Review: The Sense of an Ending by Julian Barnes
The Sense of an Ending
By Julian Barnes
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Reviewed by Michael Attard
CULTURE & ARTS The Sense of an Ending is fiction and a more refined categorization by the Library of Congress has included it under psychological fiction. In my estimation, the book also qualifies as a mystery. The inability to pigeon-hole the book may help explain why it was awarded the Man Booker Prize. I am always skeptical of committees that award prizes, but the book was considered to be the best novel written in English and published in both the United Kingdom and Ireland in 2011.
The protagonist is Tony Webster, and the events are related in the first person. The location is England, and the story begins somewhere in the 1960s. Tony had two close friends, Colin and Alex, but in their last year of high school, a new boy, Adrian, arrived and became regarded as the philosopher of the group. He believed that principles should guide actions. While their lives were prosaic, they desired life as portrayed in literature. They longed for “psychological, emotional, and social truth.”
The story is, for the most part, the recounting of events that occurred many years before. Tony is attempting to be as accurate as possible, but he is troubled by the concepts of time and history, which he fears may be causing him to miss the point of it all – the point of his life, that is. As Tony thinks about, recollects, and analyzes the passage of time, his mind whirls around the concepts of regret, even remorse, wondering if one can receive forgiveness. And how can any history be truth when, as Adrian had put it, “History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation.”
When the boys finished school to go their separate ways and to different universities, they of course promised “lifelong friendship.” Tony met Veronica Ford, and their precarious relationship progressed at least to the point where he was invited to meet and stay with the Ford family over a weekend. Tony was given a cryptic warning by Veronica’s mother.
Fifty pages in, we learn of a tragedy. Tony wonders if complications are necessary in life if one is to experience any real depth. But he goes on to conclude that perhaps, “you can have complication and difficulty without any compensating depth or seriousness.”
In a couple of pages, forty years whiz by, but everything seems accounted for. In fact, Tony thinks that things are just fine, until a letter arrives from a lawyer. Tony is thrust, or pulled back, by a powerful gravity into his past, which he had believed, up until then, was well wrapped and safely stored in history. The mystery involves something that is his, although it never was his before. He is entitled to it but someone else has it. He is unsure of its significance, and he could just let it go, but he wants it. And why will this person not give him what is rightfully his?
He later realizes that this metaphorical icon can possibly offer him corroboration. It could be the necessary evidence to put his mind at rest so that he would not need to depend upon an untrustworthy memory in order to understand his life.
