This blog post is a response to the thinking exercise assigned by Dr. Dilip Barad, Department of English at MKBU. In this blog I will reflect my understanding of the Narrative Techniques used in 'The Only Story' by Julian Barnes.
Narrative Patterns in 'The Only Story'
Introduction
In 'The Only Story,' Julian Barnes' craftsmanship manifests in the narrative technique, adding multiple layers to comprehend and present the intricate plot. The novel's narration enhances its appeal, making it captivating for readers. Memory plays a pivotal role in shaping and constructing the story by Paul Roberts. The whole novel is the recollection of memory of Paul Roberts- the narrator
In "Exploring Narrative Patterns in Julian Barnes' 'The Only Story'", Dr. Dilip Barad explores various styles of Barnes' narrative patterns, discussing several aspects of narratology in the novel:
- Narrative structured along a Classical Line
- Narrative Trope - Retrospective: Woven to wrap and Wept
- Unreliable narrator
- Drifting Narration: transitioning from First person to second person to third person
- Authorial Comments: Philosophical Broodings
Watch this video for the detailed overview
2. Narrative Structured along a Classical Line:
The narrative structure of "The Only Story" adheres to a classical line, commencing with Samuel Johnson's definition of a 'Novel' as "a small tale, generally of Love." This novel intricately unfolds the love story between Paul, a 19-year-old man, and Susan, a 49-year-old woman. Love, in its essence, serves as the cornerstone of this narrative, propelling the protagonist, Paul, into a profound and life-defining love affair that traverses the journey from innocence to experience, youth to age, and infatuation to weariness.
The novel opens with the line, "Would you rather love the more, and suffer the more; or love the less, and suffer the less? That is, I think, finally the only real question." This initial query delves into the choices one faces concerning love and suffering, setting the thematic tone for the entire narrative. The entirety of the novel grapples with this question, contributing to the overarching plot that unravels the problems, dilemmas, and sufferings of Paul entangled in a love affair with Susan.
Barnes employs a classical style of narration, devoid of unnecessary complexities in chapter structure, which he straightforwardly names One, Two, and Three. The use of the flashback technique adds an intriguing layer to the narrative, reinforcing its classical line. However, what imparts a postmodern touch to the narration is Barnes' incorporation of struggle, complexity, and experimental elements, elevating the storytelling beyond traditional boundaries.
2. Narrative Trope - Retrospective: Woven to wrap and Wept:
The narrative structure in "The Only Story" is non-linear, shifting between different time periods to reflect the fragmented nature of memory itself. Paul's recollection of his past takes on a retrospective narrative trope, skillfully employed by Barnes to invite readers into the fluidity of memory and the subjective realm of personal history. Consequently, Paul's story becomes inherently ambiguous.
Through the use of this retrospective narrative trope, Barnes encourages readers to grapple with the fluid nature of memory and the subjectivity inherent in personal history. By embracing the act of revisiting and reimagining one's past, the novel challenges conventional notions of truth, providing a profound exploration of the complexities within the human experience.
3. Unreliable narrator
Paul is the narrator of the novel, the novel is the recollection of his memory. He often mentions not remembering certain events and tries his best to recount them. Unlike having a diary or reliable records, he points out the absence of such documentation, stating:
"You understand, I hope, that I'm telling you everything as I remember it? I never kept a diary, and most of the participants in my story—my story! My life!—are either dead or far dispersed... Memory sorts and sifts according to the demands made on it by the rememberer."
Paul acknowledges the lack of concrete evidence, as many people from his past are either no longer alive or have moved away. Without solid proof, he fills the gaps in his memory to tell his story. His admission that memory can be shaped based on the recollector's needs suggests a certain level of subjectivity in his storytelling. With no diary to reference and the absence of firsthand accounts, Paul becomes an unreliable narrator, presenting his story in a way that may favor his perspective.
4. Drifting Narration: transitioning from First person to second person to third person
The novel shifts its narration style, moving from first person to second person and finally to third person. This reflects Paul's evolving perspective and emotional journey. In the initial part, Paul narrates in the first person, sharing his reflections and personal suffering. The second part introduces a second person narration, creating a connection between the readers and Paul's life, allowing them to empathize with his experiences while simultaneously distancing Paul from the events.
As I read the novel, I noticed that the first-person narration in the first part gives us Paul's point of view. In the second part, the second-person narration involves readers in Paul's life, prompting them to imagine themselves in his place, yet creating a disconnect with the narrator Paul. This suggests a growing emotional distance as Paul grapples with the complexities and consequences of his love affair.
In the third part, the narrative style shifts to third person, offering a broader perspective on the overall story and hinting at the potential outcomes of Paul's life. This perspective distances readers from Paul's introspection and self-reflection. The third-person narration underscores Paul's detachment not only from his "only story" but also from his own sense of self. It emphasizes his acknowledgment of the consequences and emotional toll of his actions on himself and those around him.
5. Authorial Comments: Philosophical Broodings
In Julian Barnes' novel "The Only Story," the presence of authorial comments adds a distinct flavor of philosophical broodings to the narrative. Through These authorial comments, Barnes raises some philosophical question related to the love, life, its dilemmas, problems, existential question and presents postmodern dilemmas of life.
For instance, in the beginning, it says,
“Would you rather love the more, and suffer the more; or love the less, and suffer the less? That is, I think, finally, the only real question. You may point out – correctly – that it isn’t areal question. Because we don’t have the choice. If we had the choice, then there would be a question. But we don’t, so there isn’t. Who can control how much they love? If you can control it, then it isn’t love. I don’t know what you call it instead, but it isn’t love. Most of us have only one story to tell. I don’t mean that only one thing happens to us in ourlives: there are countless events, which we turn into countless stories. But there’s onlyonethat matters, only one finally worth telling. This is mine. But here’s the first problem. . . .” (Barnes)
This question explores the human emotions and its its complexities of love. Paul acknowledges that while this question seems significant, it is not a real question because we do not have a choice in how much we love. Love is not something that can be controlled or manipulated at will. If one could control their love, then it would cease to be genuine love.
He further says that we all have numerous stories to tell based on countless events of our life, but there is only one story that is with telling which indicates we human amidst multitude of experiences, select a single narrative to define our personal life.
“Here was an entry – a serious one – which he hadn’t crossed out in years. He couldn’t remember where it came from. He never recorded the writer or the source: he didn’t want to be bullied by reputation; truth should stand by itself, clear and unsupported. This one went: ‘In my opinion, every love, happy or unhappy, is a real disaster once you give yourself over to it entirely.’ Yes, that deserved to stay. He liked the proper inclusivity of ‘happy or unhappy’. But the key was: ‘Once you give yourself over to it entirely.’ Despite appearances, this wasn’t pessimistic, nor was it bittersweet. This was a truth about love spoken by someone in the full vortex of it, and which seemed to enclose all of life’s sadness.” (Barnes)
In "The Only Story," this quote shows Julian Barnes thinking deeply about love. It says that every love, whether it's happy or sad, becomes a real disaster when you fully give yourself to it. Paul, the character in the story, finds this interesting, especially the part that says "once you give yourself over to it entirely." He doesn't see it as negative but thinks it captures the whole essence of love. It suggests that when you completely surrender to love, no matter if it's good or bad, it becomes a real disaster. This idea shows how love can be intense and overwhelming, bringing both joy and sadness. Through this quote, Barnes encourages readers to think about the powerful and complex nature of love, making the story more thoughtful and exploring deep themes in "The Only Story."
“The sadness of life. That was another conundrum he would occasionally ponder. Which was the correct – or the more correct – formulation: ‘Life is beautiful but sad’, or ‘Life is sad but beautiful’? One or the other was obviously true; but he could never decide which. Yes, love had been a complete disaster for him. And for Susan. And for Joan. And – back before his time – it might well have been so for Macleod as well. He skimmed through a few crossed-out entries, then slid the notebook back in the drawer. Perhaps he had always been wasting his time. Perhaps love could never be captured in a definition; it could only ever be captured in a story.” (Barnes)
In this quote, Paul Roberts thinks about how life can be both sad and beautiful. He considers two ways to say it: "Life is beautiful but sad" and "Life is sad but beautiful." Paul has experienced love as a disaster, just like Susan, Joan, and Macleod in the past. He looks at some notes he wrote about love but feels like he might have been wasting time trying to define it. Paul believes that love is too personal and unique for a simple definition. Instead, he thinks that love is best understood through stories. Stories can capture the true essence of love with all its ups and downs. This quote shows that Julian Barnes wants us to think about the mystery of love and how it connects to the human experience. It talks about the sadness in life, especially when it comes to love, but also recognizes the beauty that exists. By bringing up these big questions and stressing the importance of stories, Barnes encourages readers to reflect on love and life in their own way.
In addition to the five narrative points discussed earlier, the utilization of Gérard Genette's tools of duration in narratology adds an intriguing layer to the analysis. Genette's book, "Narrative Discourse: An Essay in Method," delves into five major aspects for narrative discourse: Order, Duration, Frequency, Mood, and Voice.
Click Here to read more about Gerald Genette's 'Narrative Discourse: An Essay in Method': Book
Genette's focus on "discourse time" and "narration time" proves crucial in understanding the temporal intricacies of storytelling. (Genette)
1. Discourse Time: Discourse time refers to the time taken by the narrator to tell the story. In "The Only Story," Paul Roberts reflects on events that occurred 50 years ago, shaping his narrative with the rhythms of memory. Genette's exploration of the relationship between discourse time and story time becomes evident in how the pace of narration influences the reader's perception of time.
2. Narration Time: Also referred to as "story time" or "diegetic time," this is the chronological sequence of events within the narrative. In "The Only Story," narration time is unclear, mirroring Paul Roberts' contemplative thoughts that shift between past and present. The non-linear narration contributes to the complex temporal dimensions of the story.
Relationship between Discourse Time and Narration Time:
The interaction between these two temporal dimensions is crucial in Genette's framework. Discourse time may differ significantly from the time events would take in the story.
In "The Only Story," Julian Barnes employs a discourse time spanning 70 years, and narration time fluidly moves between the past and present. This deliberate manipulation aids Paul Roberts in crafting a narrative that allows for a profound exploration of temporal dimensions, contributing to a richer analysis of the story's temporality.
(Note: I have taken help from ChatGPT to understand Gerald Genette's Narratology and then applied my understanding of 'The Only Story')
Conclusion:
In conclusion, the narrative patterns in Julian Barnes' "The Only Story" showcase the author's masterful craftsmanship, weaving a complex and thought-provoking tale. Dr. Dilip Barad's exploration of these patterns, including the classical narrative structure, retrospective trope, unreliable narrator, drifting narration, and authorial comments, illuminates the novel's depth and richness. Barnes skillfully blends classical and postmodern elements, presenting a love story that transcends conventional boundaries. The novel's exploration of memory, as highlighted by Gérard Genette's narratology tools, further enhances the understanding of temporal intricacies. The non-linear narration, shifting between discourse time and narration time, allows for a profound exploration of Paul Roberts' experiences over 70 years. Barnes encourages readers to contemplate the complexities of love, life's inherent sadness and beauty, and the transformative power of storytelling. In essence, "The Only Story" becomes a captivating exploration of human emotions, choices, and the timeless nature of love.
Click Here to visit my blog on the importance of Crosswords in 'The Only Story' by Julian Barnes
References
Barad, Dilip. “EXPLORING NARRATIVE PATTERNS IN JULIANBARNES' "THEONLY STORY."” LangLit An International Peer-Reviewed Open Access Journal, vol. 6, no. 4, 2020. ResearchGate, https://www.researchgate.net/publication/371874310_EXPLORING_NARRATIVE_PATTERNS_IN_JULIAN_BARNES'_THE_ONLY_STORY . Accessed 2 February 2024.
Barnes, Julian. The Only Story. Random House, 2018.
Genette, Gerald. Narrative Discourse: An Essay in Method. Translated by Jane E. Lewin, Cornell University Press, 1983.
Pier, John. “Gérard Genette's Evolving Narrative Poetics.” Narrative, vol. 18, no. 1, 2010, pp. 8-18. JSTOR, https://www.jstor.org/stable/25609381 . Accessed 2 February 2024
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