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"Verhandeling waarin de Engelse schrijver (1946-) zijn persoonlijke levensherinneringen afwisselt met bespiegelingen over de dood."
""I don't believe in God, but I miss him." So begins this book, which is a family memoir, an exchange with his brother (a philosopher), a meditation on mortality and the fear of death, a celebration of art, an argument with and about God, and a homage to the writer Jules Renard. Barnes also draws poignant portraits of the last days of his parents, recalled with great detail, affection and exasperation. Other examples he takes up include writers, "most of them dead and quite a few of them French," as well as some composers, for good measure. Although he cautions us that "this is not my autobiography," the book nonetheless reveals much about Barnes the man and the novelist: how he thinks and how he writes and how he lives. At once deadly serious and dazzlingly playful, this is a wise, funny and constantly surprising tour of the human condition.--From publisher description."@en
""In this virtuosic memoir, Barnes (Arthur & George) makes little mention of his personal or professional life, allowing his audience very limited ingress into his philosophical musings on mortality. But like Alice tumbling through the rabbit hole, readers will find themselves granted access to an unexpectedly large world, populated with Barnes's daily companions and his chosen ancestors (most of them dead, and quite a few of them French, like Jules Renard, Flaubert, Zola). This is not 'my autobiography,' Barnes emphasizes in this hilariously unsentimental portrait of his family and childhood"--Publishers Weekly."
""I don't believe in God, but I miss him." So begins this book, which is a family memoir, an exchange with his brother (a philosopher), a meditation on mortality and the fear of death, a celebration of art, an argument with and about God, and a homage to the writer Jules Renard. Barnes also draws poignant portraits of the last days of his parents, recalled with great detail, affection and exasperation. Other examples he takes up include writers, "most of them dead and quite a few of them French," as well as some composers, for good measure. Although he cautions us that "this is not my autobiography," the book nonetheless reveals much about Barnes the man and the novelist: how he thinks and how he writes and how he lives. At once deadly serious and dazzlingly playful, this is a wise, funny and constantly surprising tour of the human condition.--From publisher description."
""Ich glaube nicht an Gott, aber ich vermisse ihn." Julian Barnes, brillant, geistreich und witzig wie immer, setzt sich mit einem Thema auseinander, das jeden ein Leben lang betrifft. Es geht um unsere Sterblichkeit, um provozierende Gedanken und aufrüttelnde Ereignisse auf dem Weg zum Ende. Eigentlich müsste man sich nicht davor fürchten. Wirklich nicht? "Was soll eigentlich dieses ganze Tamtam um den Tod?", fragt nüchtern Julian Barnes' Mutter. Aber ihr Sohn kann deshalb oft nicht schlafen: "Ich erklärte ihr, mir widerstrebe eben der Gedanke daran." Die Angst vor dem Tod treibt Julian Barnes seit seiner Jugend um, immer wieder umkreist er das Thema in seiner ganzen Unerbittlichkeit und Hoffnungslosigkeit, denn er glaubt nicht an Gott, vermisst ihn aber. Neugierig und um Erkenntnis bemüht sucht er in der Kunst und in der Literatur, in den Naturwissenschaften und in der Musik nach Antworten. Doch Julian Barnes ist Romancier, deshalb entwickelt er seine Gedanken aus Personen und Handlung. Und so erzählt er auch die anekdotenreiche Geschichte vom Leben und Sterben der sehr britisch zugeknöpften Familie Barnes - von den originellen Großeltern, der herrischen Mutter, dem in sich gekehrten Vater, dem besserwisserischen Philosophen-Bruder und dem belesenen, an den Künsten interessierten Julian. Seine wahren Angehörigen und Vorfahren sind für Julian Barnes allerdings nicht die Mitglieder einer englischen Lehrerfamilie, sondern Schriftsteller und Komponisten wie Stendhal, Flaubert und Strawinsky. Mit ihnen erörtert er scharfsinnig und verängstigt, flapsig und tröstlich, ironisch und ernsthaft die Angst vor dem Treppenlift, den Blick in den Abgrund, das Wie und Wo und Wann. Und hat ein aufregendes Buch geschrieben."
"'I don't believe in God, but I miss him.' Julian Barnes' new book is, among many things, a family memoir, an exchange with his brother (a philosopher), a meditation on mortality and the fear of death, a celebration of art, an argument with and about God, and a homage to the French writer Jules Renard."
""I dońt believe in God, but I miss him." So begins this book, which is a family memoir, an exchange with his brother (a philosopher), a meditation on mortality and the fear of death, a celebration of art, an argument with and about God, and a homage to the writer Jules Renard. Barnes also draws poignant portraits of the last days of his parents, recalled with great detail, affection and exasperation. Other examples he takes up include writers, "most of them dead and quite a few of them French," as well as some composers, for good measure. Although he cautions us that "this is not my autobiography," the book nonetheless reveals much about Barnes the man and the novelist: how he thinks and how he writes and how he lives."@en
"J. Barnes propose une réflexion sur Dieu, la religion et la mort sous la forme de dialogues imaginaires avec des philosophes, des poètes, des romanciers, des musiciens, ponctués de citations."
"'I don't believe in God, but I miss him.' Julian Barnes' new book is, among many things, a family memoir, an exchange with his brother (a philosopher), a meditation on mortality and the fear of death, a celebration of art, an argument with and about God, and a homage to the French writer Jules Renard. Though he warns us that 'this is not my autobiography', the result is like a tour of the mind of one of our most brilliant writers. When Angela Carter reviewed Barnes' first novel, Metroland, she praised the mature way he wrote about death. Now, nearly thirty years later, he returns to the subject in a wise, funny and constantly surprising book, which defies category and classification - except as Barnesian."

genre

http://schema.org/genre

"Biography"@he
"Biography"
"Biography"@en
"Biography"@es
"Powieść angielska"@pl
"Essays"
"Erzählende Literatur"
"Autobiographie"
"English prose"
"Biografies"
"Herinneringen (vorm)"
"Electronic books"@en
"Anglické prózy"
"Eseje"

name

http://schema.org/name

"Žádný důvod k obavám"
"Rien à craindre"@en
"Rien à craindre"
"Nothing to be Frightened of"@en
"Nothing to be Frightened of"
"Nichts, was man fürchten müsste : Roman"
"Nichts, was man fürchten müsste Roman"
"Nie ma się czego bać"
"Nie ma się czego bać"@pl
"Nothing to Be Frightened Of : a Memoir"
"<&gt"@he
"Nichts, was man fürchten müsste"
"Nada a temer"
"Niets te vrezen"
"Nechego boi︠a︡tʹsi︠a︡"
"Nč bat"@sl
"Ikke noget at være bange for"@da
"Nada que temer"@es
"Nada que temer"
"Nothing to be frightened of"
"Nothing to be frightened of"@en
"אין מה לפחד"
"Res a témer"
"Нечего бояться"
"Nije to ništa strašno"
"En mah le-faḥed"

workExample

http://schema.org/workExample