This document provides a summary of the novel "The Only Story" by Julian Barnes. It was presented by students in the Department of English at Maharaja Krishnakumarsinhji Bhavnagar University. The summary includes key details about the novel such as the author, main characters, plot, themes, and structure. It is presented in 3 parts, with the first part covering the protagonist Paul Roberts' relationship with Susan Macleod and their decision to move in together in London. The second part continues the narration in second person. The summary concisely outlines many important elements from the novel in under 3 sentences.

1. Department of English
Maharaja Krishnakumarsinhji Bhavnagar University
The Only Story
Julian Barnes
Presented by:
MA Sem 4
Hinaba Sarvaiya(09)
Nirav Amreliya(18)
Bhavna Sosa(02)
Mayuri Pandya(14)
Nidhi Dave(16)
25-01-2023

2. Point to Ponder:
About the Author: Mayuri Pandya
Character Introduction: Hinaba Sarvaiya
Plot Overview: Nirav Amreliya
Themes of Novel: Bhavna Sosa
Article Reading: Mayuri Pandya

3. Key Facts
Published:1st February 2018
Author: Julian Barnes
Original Language: English
Chapterization: In three Part One,Two,Three
Genre:Memory Novel
Narrator: Paul Roberts
Setting: “stockbroker belt”outside London,1960

4. Julian Barnes
Julian Barnes was born in Leicester, England on
January 19, 1946. He was educated at the City of
London School from 1957 to 1964 and at Magdalen
College, Oxford, from which he graduated in
modern languages (with honours) in 1968.
In 1977, Barnes began working as a reviewer and literary
editor for the New Statesman and the New Review. From
1979 to 1986 he worked as a television critic, first for the
New Statesman and then for the Observer.

5. Award
● Barnes has received several awards and honours for his writing,
including the 2011 Man Booker Prize for The Sense of an Ending.
● Three additional novels were shortlisted for the Man Booker Prize
(Flaubert's Parrot 1984, England, England 1998, and Arthur & George
2005).
● Maugham Award (Metroland 1981),
● Geoffrey Faber Memorial Prize (FP 1985)
● Many other Award he was received
Official Website of Author

6. Characters

7. Major Characters:
Paul Roberts Susan Macleod Gordon Macleod
Marth Macleod
(Miss G)
Clara Macleod
(Miss Ns)
Daughters

8. Paul
Roberts
Eric
Barney
Ian
Anna
Joan
Alec
Ashely
Gerald
Susan

9. Minor Characters:
Paul’s Mother
Jack (Father of Gordon)
Mrs. Dayer (Maid of Susan’s home)
Christine & Virginia
Cindy
Uncle Humph & Aunt Florence
Maurice (Reynolds News)
Dr.Kenny(Barnes #)

10. Learning Outcome:
● Pursuing one’s own passion can lead to a more fulfilling
and successful life.
● Being helpful and supportive to those in need, whether
they are relatives or strangers, during difficult times can
improve the well-being.
● Being aware of basic safely guidelines (Low) can help
protect the lives of the elderly.
● Believe in the historical records in written form, allows for
a better understanding of the past and its impact on the
present.

11. Plot Overview

12. Part One :
- Page Number 3 to 83
- First Person Narration
- "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."
- "The question then is: do all these retellings bring you closer to the truth of what happened, or
move you further away? I'm not sure."
- "The time: more than fifty years ago. The place: about fifteen miles south of London...So if you
don't mind, meteorology will play no part in my story."
- "I went along, and was invited to 'play in'. This was a test which not just my tennis game but my
general deportment and social suitability would be quietly examined in a decorous English way.

13. - "She looked at me sideways....'But what about your reputation? 'My reputation?' I answered. 'I
don't think I've git one.' 'Oh dear. We'll have to get you one then. Every young man should have a
reputation.'"
- "I drove Mrs Macleod to her house in Duckers Lane."
- "As I said, I drove Mrs Macleod home, and nothing happened. And again; and again. Except that
this depends on what you mean by ‘nothing’. Not a touch, not a kiss, not a word, let alone a scheme
or a plan."
-”Sometimes I forget about other people. About them existing. People I’ve never met, I mean. I’m
sorry, Casey, maybe I should have … I mean, it isn’t as if… oh dear.’ ‘Nonsense,’ I say firmly. ‘You
said a young man like me should have a reputation. It seems I’ve now got a reputation for operating
a taxi service. That’ll do me for the summer.’ She remains downcast. Then says quietly, ‘Oh Casey,
don’t give up on me just yet.’But why would I, when I was falling smack into love?"
-"So what words might you reach for, nowadays, to describe a relationship between a nineteen-year-
old boy, or nearly-man, and a forty-eight-year-old woman? Perhaps those tabloid terms ‘cougar’ and
‘toy boy’? But such words weren’t around then, even if people behaved like that in advance of their
naming."

14. -"For instance, I remember lying in bed one night, being kept awake by one of those
stomach-slapping erections which, when you are young, you carelessly – or carefreely
– imagine will last you the rest of your life. But this one was different....In my days of
adolescent rage and insolence, I would ask myself: What are the old for, if not to envy
the young? That seemed to me their principal and final purpose before extinction."
-"I lean across and kiss her, in front of whatever interested pedestrians Wimpole Street
contains."
-"I was going to say girlishness; and perhaps that’s more what I mean. Yes, she is
older; yes, she knows more about the world. But in terms of – what shall I call it? the
age of her spirit, perhaps – we aren’t that far apart."
-"You aren’t suggesting I go into politics?’ I am incredulous. I despise politicians, who all
strike me as self-important creeps and smoothies. Not that I’ve ever met a politician, of
course.

15. ‘ -It’s exactly because people like you don’t go into politics that we’re in the
mess we are,’ Susan insists."
- "My parents enjoyed television sit-coms, but were made uneasy by satire."
- "The first time we were together – sexually, I mean – we each told the necessary
lies, then drove across to the middle of Hampshire and found two rooms in a hotel."
- "‘Isn’t it strange?’ she muses. ‘My mother died of cancer when I was ten and I only
ever think of her when I’m cutting my toenails.’"
- "I leave a pause; she fills it. ‘I had an uncle. Uncle Humph. For Humphrey. I used
to go and stay with him and Aunt Florence. After my mother died, so I would have
been eleven, twelve....And just as I would be getting off to sleep,there was a sudden
weight on the side of the bed and it would be Uncle Humph,stinking of brandy and
cigars and saying he wanted a goodnight kiss too. And then one time he said, “Do
you know what a ‘party kiss’ is?” and before I could reply he rammed his tongue into
my mouth and thrashed it around like a live fish. I wish I’d bitten it off. Every summer
he did it, till I was about sixteen."

16. - “But I’m remembering the past, not reconstructing it....I’m not trying to spin you a story; I’m trying to
tell you the truth."
- "Everyone in the Village, every grown-up – or rather, every middle-aged person – seemed to do
crosswords: my parents, their friends, Joan, Gordon Macleod.
Everyone apart from Susan. They did either The Times or the Telegraph; though Joan had those
books of hers to fall back on while waiting for the next newspaper. I regarded this traditional British
activity with some snootiness."
- "'Does Mrs Macleod do the crossword?’ I asked, already knowing the answer.Two could play at
this game, I thought.
‘The Puzzle,’ he replied with some archness, ‘is not really a female domain.’
‘My mum does the crossword with my dad. Joan does the crossword.’
He lowered his chin and looked at me over his spectacles.
‘Then let us posit, perhaps, that the Puzzle is not the domain of the womanly
woman. What do you say to that?’

17. - "I’ve been educated at school and university, and yet, in real terms, I know nothing. Susan
barely went to school,but she knows so much more. I’ve got the book-learning, she’s got the
life-
learning."
- "But anyway: Martha and Clara. Miss G and Miss NS. Miss Grumpy and Miss Not So
(Grumpy). Martha was like her mother physically, tall and pretty, but with something of her
father’s querulous temperament. Clara was plump and round, but entirely more equable. Miss
Grumpy disapproved of me; Miss Not So was friendly, even interested."
- "If I was uneasy with girls generally, I was the more so with ones who were a bit older than
me, let alone ones whose mother I was in love with."
- "I never reflected on our age difference. Age felt as irrelevant as money. Susan never
seemed a member of my parents’ generation – ‘played-out’ or not. She never pulled any sort
of rank on me, never said, ‘Ah, when you’re a bit older, you’ll understand’ and stuff like that. It
was only my parents who harped on about my immaturity."

18. "She was almost exactly the same age as your mother, and you went to bed with her. So?"
- "It’s true that I wanted to sleep with Susan – and did so many times – and for a number of
years thought of killing Gordon Macleod, but that is another part of the story."
- "Not that pre-history doesn’t matter. Indeed, I think pre-history is central to all relationships."
- "There was no exact Moment of Leaving, neither a surreptitious midnight skedaddle, nor
some formal departure with luggage and waving handkerchiefs.(Who would have waved?) It
was a long-drawn-out detaching, so that the moment of rupture was never clearly marked.
- "Which didn’t stop me trying to mark it, with a brief letter to my parents:
Dear Mum and Dad,I am moving up to London. I shall be living with Mrs Macleod. I shall send
you an address as and when.

19. Yours, Paul
That seemed to cover it. I thought the ‘as and when’ sounded properly
grown-up. Well, so I was. Twenty-one. And ready to fully indulge, fully
express, fully live my life. ‘I’m alive! I’m living!’
We were together – under the same roof, that is – for ten or more years.
Afterwards, I continued to see her regularly. In later years, less often.
When she died, a few years ago,...And this is how I would remember it
all, if I could. But I can’t."

20. Part Two :
- Page Number 87 to 158
- First Person Narration from the Page Number 87 to 103
- Second Person Narration from the Page Number 104 to 158
- "Susan’s running-away fund contained enough to buy a small house in Henry Road, SE15."
- "I painted my study a sombre dark green, after Barney told me that the labour wards of
hospitals were that colour, to calm expectant mothers. I hoped it might have the same effect on
my own laborious hours."
- "But as far as I understood my life at this time, I required the opposite equation. Work would
be something I jogged along with; love would be my life."

21. - "‘Who was that?’ I asked as she passed my door. She looked in to see me.
‘Missionaries,’ she replied. ‘God damn and blast them, missionaries. I let them get it all
off their chests and then sent them on their way. Better to waste their puff on me than
someone they might convert.’
‘Not actual missionaries?’
‘It’s a general term. Actual missionaries are the worst, of course.’"
- "But a few weeks later we received a visit from a man called Maurice."
- "Susan was in her hostess mode, which involved tamping down some of the things I
most loved her for: her irreverence, her free-spirited laughter at the world."
- "At the Macleod house, unlike my own, there was a main staircase near the front
door, and a narrower one near the kitchen, presumably for those mob-capped servants
now replaced by machines."

22. - "Have you ever seen an electric log-splitter in action? They’re very impressive. You cut the log to a
certain length, lay it on the bed of the machine, press the button with your foot, and the log is pushed
on to a blade shaped like an axe-head. Whereupon the log splits pure and straight down the grain.
That’s the point I’m trying to make. Life is a cross section, memory is a split down the grain, and
memory follows it all the way to the end."
- "Isn’t growing up a necessary process of losing one’s innocence? Maybe, maybe not. But the
trouble with life is, you rarely know when that loss is going to happen, do you? And how it will be,
afterwards."
- "‘Joan,’ said the very rude voice of Joan. ‘It’s Susan. Get over there. She wants you, not me. You,
now.’ And she put the phone down."
- "‘Whatever you say. But you’ll need to tell me roughly where we’re going.’
‘Head for Selfridges.’
‘Are we in a hurry?’ I allowed myself that question.

23. ‘Just drive safely, Paul, just drive safely.’We got to near Selfridges and she directed me down
Wigmore Street, then left up one of those streets where private doctors practise."
- "A terrible realization came upon me. That the system had failed, that she’d found herself
pregnant, and was even now dealing with the consequences. The Abortion Law was still going
through Parliament, but everyone knew there were doctors – and not just at the backstreet end –
who would perform ‘procedures’ more or less on demand."
- "The notion of being a father while still a student struck me as terrifying and crazy. But it also
struck me as, well, kind of heroic. Subversive yet honourable,annoying yet life-affirming: noble. I
didn’t think it would get me into the Guinness Book of Records – no doubt there were twelve-
year-olds hard at work getting their grannies’ best friends pregnant, but it would certainly make
me exceptional. And irritate the hell out of the Village."
- "Over the next days, she told me bit by bit what had happened. She had been sitting up late,
listening to the gramophone. Macleod had gone to bed an hour previously. She kept playing over
and over again the slow movement of Prokofiev’s third piano concerto, which we’d heard a few
days before at the Festival Hall. Then she put the record back in its sleeve and went upstairs.
She was just reaching for the handle of her bedroom door when her hair was seized from behind,
and with the words, ‘How’s your fucking musical education coming along?’, her husband
smashed her face into the closed door. Then he had gone back to bed."

24. - "as I realized I would never again be able to tap her ‘rabbit teeth’, long discarded in some
Wimpole Street waste bin; as I understood that I now had greater responsibilities than before;"
- "One thing I never swerved from was the certainty that Gordon Macleod’s behaviour was a crime
of absolute liability. And his responsibility was also absolute. A man hits a woman; a husband hits
a wife; a drunkard hits a sober spouse. There was no defence, and no possible mitigation."
- Starts Second Person Narration :
- "You are an absolutist for love, and therefore an absolutist against marriage."
- "You have given the matter much thought, and come up with many fanciful comparisons.
Marriage is a dog kennel in which complacency lives and is never chained up. Marriage is a
jewellery box which, by some mysterious opposite of alchemy, turns gold, silver and diamonds
back into base metal, paste and quartz. Marriage is a disused boathouse containing an old, two-
person canoe, no longer water-worthy, with holes in the bottom and one missing paddle. Marriage
is…oh, you have dozens of such comparisons to hand."

25. - "You approve. This will be the start, the making, of the new Susan. You try some gentle
advice."
- "You realize that, even if she is the free spirit you imagined her to be, she is also a damaged
free spirit. You understand that there is a question of shame at the bottom of it. Personal shame;
and social shame. She may not mind being thrown out of the tennis club for being a Scarlet
Woman, but she cannot admit to the true nature of her marriage."
- "You know that sometimes, after checking on the house she owns half of, she goes to visit
Joan. This is a good idea, even if on her return her hair smells of cigarette smoke. Once, you
catch sherry on her breath."
- "Around this time, one of the lodgers moved out, and Eric, having broken up with his
(moralistic, marriage-demanding) girlfriend, took over the free room on the top floor. This brought
a new dynamic to the house, perhaps even a better one. Eric thoroughly approved of our
relationship, and would be able to keep an eye on Susan when I couldn’t."

26. - "Dr Kenny is a fussy, inquisitive middle-aged man, but the right sort of GP one who believes
that house calls provide useful background when it comes to diagnosis. You take him upstairs to
Susan’s bedroom; her bruises are coming into full colour."
- "You realize two things. First, that you lie automatically to protect Susan even if the truth might
have helped her more. You also begin to see how your relationship, or rather, your cohabitation,
might appear to an outsider."
- "You know already that there is good sex and bad sex. Naturally, you prefer good sex to bad
sex. But also, being young, you think that even so, all things considered, taking the rough with
the smooth, bad sex is better than no sex at all. And sometimes better than masturbation; though
sometimes not.
But if you think these are the only categories of sex that exist, you find you are mistaken.
Because there is a category which you had not known to exist, something which isn’t, as you
might have guessed had you heard about it before, merely a subcategory of bad sex; and that is
sad sex. Sad sex is the saddest sex of all."

27. - "Good sex is better than bad sex. Bad sex is better than no sex, except when
no sex is better than bad sex. Self-sex is better than no sex, except when no sex
is better than self-sex. Sad sex is always far worse than good sex, bad sex, self-
sex and no sex. Sad sex is the saddest sex of all."
- "Yet here you are, in a hospital waiting area, surrounded by mad people, in love
with a woman who is being characterized as potentially mad."
- "When desire returns, you order up another prostitute. Later, you have a
Lebanese dinner. You watch television. You lie on your bed, deliberately not
thinking about Susan or anything to do with her. You do not care how anyone
might judge you if they could see where you are and what you are doing."

28. Part Three :
- Page Number 161 to 212
- Third Person Narration
- "He sometimes asked himself a question about life. Which are truer, the happy memories, or
the unhappy ones? He decided, eventually, that the question was unanswerable."
- "He had kept a little notebook for decades now. In it he wrote down what people said about
love. Great novelists, television sages, self-help gurus, people he met in his years of travelling.
He assembled the evidence. And then, every couple of years or so, he went through and
crossed out all the quotations he no longer believed to be true. Usually, this left him with only
two or three temporary truths. Temporary, because the next time round, he would probably
cross those out as well, leaving a different two or three now standing."

29. - "For instance, he thought he probably wouldn’t have sex again before he died.Probably.
Possibly. Unless. But on balance, he thought not. Sex involved two people. Two persons,
first person and second person: you and I, you and me. But nowadays, the raucousness
of the first person within him was stilled. It was as if he viewed, and lived, his life in the
third person. Which allowed him to assess it more accurately, he believed."
- "One entry in his notebook was, of course: ‘It is better to have loved and lost than never
to have loved at all.’"
- "Susan’s mind has slipped a little more each time you see her. Short-term memory
disappeared a while ago, and long-term memory is a shifting, blurry palimpsest from which
clear but unconnected phrases will occasionally be picked out by her fading brain. What
often rises to the surface are songs and catchphrases from decades previously.
‘High o’er the fence leaps Sunny Jim,
Force is the food that raises him.’

30. - "She has long ago ceased to drink; indeed, she has forgotten that she was ever a drinker.
She seems to know that you are, or were, something in her life, but not that she once loved
you, and you loved her in return. Her brain is ragged, but her mood is strangely stable. The
panic and pandemonium have drained out of her. She is alarmed by neither your arrival nor
your departure. Her manner is satirical at times, disapproving at others, but always a little
superior, as if you aren’t a person of much consequence. You find all this agonising, and try to
resist the temptation to believe that you deserve what you are getting."
- "Once – and naturally in front of the nurse – she dredges up a football song
which can only have come from you:
‘If I had the wings of a sparrow,
If I had the arse of a crow,
I’d fly over Tottenham tomorrow,
And shit on the bastards below.’
But the nurse has, of course, heard far worse in her years of caring for the elderly and
demented, so she merely cocks an eyebrow at you and asks,
‘Chelsea supporter?’"

31. - "None of this happened. I looked at her profile, and thought
back to some moments from my own private cinema. Susan in
her green-piped tennis dress,feeding her racket into its press;
Susan smiling on an empty beach; Susan crashing the gears of
the Austin and laughing. But after a few minutes of this,my mind
began to wander. I couldn’t keep it on love and loss, on fun and
grief."
- "But the rest of my life, such as it was, and subsequently would
be, was calling me back. So I stood up and looked at Susan one
last time; no tear came to my eye. On my way out I stopped at
reception and asked where the nearest petrol station might be.
The man was very helpful."

32. Learning Outcome:
- The Notion of Afterlife and the Myth that Universe Repeats Itself, This Signifies the Binary for
Multiple People :
"‘You’re not,’ I insist. ‘And with a bit of luck the old bastard will be in a very
hot place. If there’s any justice.’
‘There isn’t,’ she replies. ‘There isn’t any justice, here or anywhere else. And the afterlife would
just be an enormous bridge party with Uncle Humph bidding six no trumps and winning every
hand and claiming a party kiss as his reward.’" (pg. 31, Part One)
- The Breaking of Classical Myth of Deeming Upper Class as Civilized stratum whereas Lower
Class as Uncivilized One :
"It was, I suppose, ignorance and snobbery on my part which had hitherto made me assume that
domestic violence was confined to the lower classes, where things were done differently, where –
as I understood from my reading rather than from a close familiarity with backstreet life – women
would rather their husbands hit them than be unfaithful to them. If he beats you, it shows he loves
you, and all that crap. The idea of violence being inflicted by husbands with a Cambridge degree
seemed to me incomprehensible." (pg. 103, Part Two)

33. - The Selfishness of One Lover Having Fear that If One Tells the Truth to the Beloved,
Beloved Might Leave the One, Thus One Condones the Facts - Be They Wrong and
Surreptitious - of One's Beloved :
"You don’t say anything except, ‘We have to leave by two.’ You decide to let
her go on destroying her life." (pg. 140, Part Two)
- The Art of Interweaving Milieu in Form of Story within Story :
"And there is also the Malta story, which she has told you more than once....she would
explain, it’s terribly Catholic out there...Or maybe there’s a woman who has two children
and desperately wants a third but it isn’t happening. And in such cases, the priest will
come round and prop his bicycle outside the front door, so everyone – especially the
husband – knows not to interfere until the bicycle has gone. And when, nine months later
– though of course it may take several goes – the family is blessed, that blessing is
known as ‘the priest’s child’, and thought of as a gift from God. And sometimes there is
more than one priest’s child in the family. Can you imagine that, Paul? Don’t you think it’s
barbaric?" (pg. 125, Part Two)

34. - The Summing of One's Deeds at the End of the Day in Life
Which Most Often Leaves Everyone in Abyss of Remorse and
Few Streaks of Happy Memories :
"What he didn’t – or couldn’t – tell Joan was his terrifying
discovery that love, by some ruthless, almost chemical process,
could resolve itself into pity and anger. The anger wasn’t at
Susan, but at whatever it was that had obliterated her. But even
so, anger. And anger in a man caused him disgust. So now,
along with pity and anger, he had self-disgust to deal with as
well. And this was part of his shame. (pg. 177, Part Three)

35. Themes

36. Love, Loss and Self- delusion :
We start off in the first-person narrative of the 19-year-old Paul, who
meets and falls in love with 48-year-old Susan at a tennis club. Paul
lives in “the Village”, a stockbroker-belt enclave “fifteen miles south
of London”.
The Only Story explores themes of first love, loss, and self-delusion.
It also paints a portrait of a generation-Barnes’s own-whose ideals
have floundered over the course of the twentieth and early twenty-
first centuries. The novel was generally well received by critics, who
found it a “sombre but well-conceived character study”(“The Only
Story Summary”)

37. Theme of Memory :
Part Three is a fictional construction of the narrator’s past life by
the help of his memory. Paul in part three reconstructs his memory
through his imagination. This enables him to transfigure his
memories into what he desired to have. He experiences a different
kind of love which is based on shared singularity. He finally
accepts the differences between himself and Susan. Thus, he tries
to remember Susan’s happy time: “Susan happy, Susan optimistic
…”

38. Pain and Fulfillment :
In the story’s examination of the various contradictions and
challenges inherent within the concept of love, the narrative seeks
to utilise Paul and Susan’s relationship as demonstrating how
fulfillment and suffering are not only inevitable in a romantic
relationship, but are also often simultaneous phenomena. The
narrative first introduces this idea by opening the novel as follows:
“Would you rather love the more,
and suffer the more; or love the less,
and suffer the less?” (3).(Barnes)

39. In this way, the narrative immediately draws a thematic connection
between fulfilment and suffering that underlies the story of Susan
and Paul’s relationship. At first, the narrative highlights the passion
and complete fulfilment that Paul experiences in the early stages of
the relationship:
“I was nineteen, and I knew that love was incorruptible,
proof against time and tarnish” (61).

40. Theme of Marriage :
You are an absolutist for love, and therefore an absolung against
marriage. You have given the matter much thought, and come up
with many fanciful comparisons. Marriage is a dog kennel in which
complacency lives and is never chained up.
Marriage is a jewellery box which, by some mysterious opposite of
alchemy, turns gold, silver and diamonds back into base metal,
paste and quartz. Marriage is a disused boathouse containing an
old, two-person canoe, no longer water-worthy, with holes in the
bottom and one missing paddle. Marriage is... oh, you have dozens
of such comparisons to hand.

41. Gradually, you realised that the marriage of Gordon and Susan
Macleod was actually in far worse shape than any marriage among
your parents' circle, and you became all the more absolutist (p.104-
105).

42. Learning Outcome :
● Passion to do achieve anything
● No one trusted too soon
● Explicate habit of taking note

43. Articles

44. The reader had to intuit what happened. It must be related to that, that I thought I
would write about it more overtly this time.”
The novel is experience of love itself and, among other things, how difficult it is to
analyze love, especially the first time you feel it. “It’s a bit like putting in a new
kitchen,” he says. “You never get it right the first time. You always have that bit of
slate you shouldn’t have, or the taps are in the wrong place. And then you
redesign and have another kitchen, and there are different mistakes
made.”(“Julian Barnes on ‘The Only Story’”)

45. The Only Story to which Barnes alludes is, of course, the story of love. And for good or ill,
Everybody has such a story to tell. In the end, it reveals itself as the thing that.Most importantly
that has had the greatest impact, changing or transforming the course of a life.
Written many years later, it is Paul’s attempt to convey his own ‘only’ story, with Susan. Lest
he reader has high expectations of atmospheric scene-setting, he cautions: “I’m remembering
the past, not reconstructing it... I’m not trying to spin you a story; I’m trying to tell you the truth.
It is the most explicit reference to the realism this novel embraces, stripped of sentimentality and
most self-pity, at times uncomfortable yet never self-indulgently plain.
(Goring)

46. The Only Story comes from its psychological acuity, especially
about how we remember. In Paul’s narrative, experiences
deconstruct themselves and personalities decay in a
devastatingly convincing way.
It all seems terribly sad, and horribly true: a definitive account
of how romantic love becomes trapped in its own frame and
empties itself of color and meaning.
(Clanchy)

47. In The Only Story , Julian Barnes, arguably one of fiction’s most elegiac cartographers of the
heart and of the human condition, returns to his ‘first love’, the Metroland of his debut novel,
with a haunting narrative of an audacious love and a distant memory of it mapped over
decades.Barnes’s narrative in the first one-third of the novel sways to the urgent, feverish I-
me-myself cadence of Paul and Susan’s relationship.
Barnes, working with the clinical precision of a cardiac surgeon, lays open the affairs of their
heart with a wrenching narrative that, even when it doesn’t quite validate the redemptive
power of love, is curiously therapeutic. (Vembu)

48. Julian Barnes’s novel The Only Story (2018) can be read as a monograph
on the complications of love. By focalising the narrative situations and
events through the consistently transforming perspective of a failed lover,
Barnes shows how digging into the past events through the awakening
lens of memory can lead to previously censored self-realizations.
(NAYEBPOUR and VARGHAIYAN #)

49. Learning Outcome
How to tell Story even it is Love story
Human and his memory play the vital role
Age is doesn’t matter in love
Sport in literature

50. Works Cited
Barnes, Julian. The Only Story. Jonathan Cape, 2018.
Barnes, Julian. “The Only Story Themes & Motifs.” BookRags.com, http://www.bookrags.com/studyguide-the-only-
story/themesmotifs.html#gsc.tab=0. Accessed 24 January 2023.
Clanchy, Kate. “The Only Story by Julian Barnes review – an exquisite look at love.” The Guardian, 26 January 2018,
https://www.theguardian.com/books/2018/jan/26/the-only-story-julian-barnes-review. Accessed 8 January 2023.
Goring, Rosemary. “Review: The Only Story, by Julian Barnes.” The Herald, 26 January 2018,
https://www.heraldscotland.com/life_style/arts_ents/15901516.review-story-julian-barnes/. Accessed 8 January
2023.
“Home.” YouTube, https://www.julianbarnes.com/bio/index.html. Accessed 23 January 2023.

51. “Julian Barnes on ‘The Only Story.’” The New York Times, 27 April 2018,
https://www.nytimes.com/2018/04/27/books/review/julian-barnes-on-the-only-story.html. Accessed
24 January 2023.
NAYEBPOUR, Karam, and Naghmeh VARGHAIYAN. “Reconstructed Memory of Love in Julian
Barnes’s The Only Story.” December 2021, https://dergipark.org.tr/en/download/article-file/979900.
“The Only Story Summary.” SuperSummary, https://www.supersummary.com/the-only-story/summary/.
Accessed 24 January 2023.

52. Thank You