The writer must be universal in sympathy and an outcast by nature: only then can he see clearly.
Interpretation
A writer needs to empathize with all people while simultaneously feeling a sense of detachment to gain true insight.
Julian Barnes emphasizes the dual nature of a writer's existence: they must connect deeply with human experiences and emotions while also maintaining an outsider's perspective. This unique combination allows them to observe and convey truths about life with clarity and depth, as their outcast status provides a distinct lens through which to understand the world.
In practice
In a writing workshop to illustrate the importance of empathy in storytelling.
(on grief) And you do come out of it, that’s true. After a year, after five. But you don’t come out of it like a train coming out of a tunnel, bursting through the downs into sunshine and that swift, rattling descent to the Channel; you come out of it as a gull comes out of an oil-slick. You are tarred and feathered for life.
Is despair wrong? Isn’t it the natural condition of life after a certain age? … After a number of events, what is there left but repetition and diminishment? Who wants to go on living? The eccentric, the religious, the artistic (sometimes); those with a false sense of their own worth. Soft cheeses collapse; firm cheeses endurate. Both go mouldy.
It took me some years to clear my head of what Paris wanted me to admire about it, and to notice what I preferred instead. Not power-ridden monuments, but individual buildings which tell a quieter story: the artist's studio, or the Belle Epoque house built by a forgotten financier for a just-remembered courtesan.
But I’ve been turning over in my mind the question of nostalgia, and whether I suffer from it. I certainly don’t get soggy at the memory of some childhood knickknack; nor do I want to deceive myself sentimentally about something that wasn’t even true at the time—love of the old school, and so on. But if nostalgia means the powerful recollection of strong emotions—and a regret that such feelings are no longer present in our lives—then I plead guilty.
And that's a life, isn't it? Some achievements and some disappointments. It's been interesting to me, though I wouldn't complain or be amazed if others found it less so. Maybe, in a way, Adrian knew what he was doing. Not that I would have missed my own life for anything, you understand. [pp.60-61]
Every love story is a potential grief story.
A film ingeniously directed does indeed give the impression of having been laid end to end, but a film ingeniously edited gives the impression of having suppressed all direction.
People say to me, 'You seem to have made this conscious decision to do independent films'. In reality, I haven't. After each movie, I always think, 'how different can I possibly be? Is this going to challenge me, is this going to inspire me, and is this going to make me love my job more than I already do?'
Whenever I get an idea for a song, even before jotting down the notes, I can hear it in the orchestra, I can smell it in the scenery, I can see the kind of actor who will sing it, and I am aware of an audience listening to it.
He who is discouraged after a failure is not a real artist.
Every artist will one day face the moment when he or she is doing what he or she does after the style has passed and the art-world heat-seeking machine has moved on.
Do you know that every great thing in the history of art and every beautiful thing in life is actually what you call nasty or has been caused by feelings that you would call nasty? By passion, by love, by hatred, by truth. Do you know that?
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