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| Julian Barnes |
JULIAN BARNES: THE NOISE OF TIME
John Self
Julian Barnes’ last novel, The Sense of an Ending, won the Man Booker Prize and, almost as significantly, is one of the most commented-upon books on this blog. Barnes, as one of the enduringly big names of the 1980s literary fiction surge – see also Amis and McEwan in particular – has always been prominent, but his Booker win took him to a much wider readership. His first novel since then will be examined with more attention than ever before. I think it will withstand such scrutiny.The Noise of Time takes its title from a collection of writing by Osip Mandelstam, a poet and essayist who fell foul of the Soviet regime in the 1930s. (You can read Mandelstam’s The Noise of Time along with a detailed introduction to him here. [PDF link]) This is apt enough for a novel about Dmitri Shostakovich, the composer who fell foul of the Soviet regime in etc etc. It gives us three periods of Shostakovich’s life in Barnes’s usual cool, analytical style.
In the first part, Shostakovich waits repeatedly by the lift in his apartment block, a small case by his side, awaiting capture – or collection – by the authorities. It is 1936, and he has come to the attention of Stalin and the regime for his opera from Leskov’s tale, Lady Macbeth of Mtsensk. His work is denounced in Pravda as “Muddle instead of Music”, in an atmosphere where “bureaucrats assessed musical output as they did other categories of output; there were established norms, and deviations from those norms.” Needless to say, Shostakovich’s opera – and retrospectively, his other music – is deemed wanting, of “[tickling] the perverted taste of the bourgeois with its fidgety, neurotic music.” Music, it is declared, should be “authentic, popular and melodious.” Art belongs to the people, said Lenin. But for Shostakovich, “art belongs to everybody and nobody. Art is the whisper of history, heard above the noise of time.” Soon, inevitably, the focus broadens from Shostakovich’s work to the man himself: he becomes an “enemy of the people”, and he knows his days are numbered.
But the pages of the book are numbered too, and we are only a third through, and Shostakovich does not die. He waits by the lift with his small case: “was it brave to be standing there waiting for them, or was it cowardly?” But they do not come, and he does not die, and he later regrets that he does not, as he is rehabilitated by writing new music in compliance with the demands of the authorities – by Power, as Barnes puts it. It was not enough to appear to comply: he had to “actually believe in them”, to, as Orwell put it, win the battle over himself. And so in 1948 Shostakovich becomes part of a Soviet delegation to the USA where he publicly condemns his own works in the crucible of capitalism: “a place of the purest humiliation, and of moral shame.”
But with Power, “however much you gave, they wanted more,” and in the third part of the book, we have Shostakovich’s further rehabilitation in the 1950s and 60s after Stalin’s death, under “Nikita the Corncob”. With this comes his greatest shame yet, the hardest challenge to his self-described cowardice: Khrushchev wants Shostakovich, the Soviet Union’s most famous composer, to be appointed Chairman of the Russian Federation Union of Composers. This honour requires him, of course, to join the Communist Party: and so, “finally, after the great fear was over, they had come for his soul.” Here, as elsewhere in the book, we get circular dialogues where no one says quite what they mean because (for one interlocutor) they fear saying it, or (for the other) they know their meaning will be understood because of their power. It provokes also one of a series of reflections on power, honesty and cowardice, and analysis of conscience via, among other literary references, Yevgeny Evtrushenko’s poem ‘Career‘. (“In Galileo’s day, a fellow scientist / Was no more stupid than Galileo. / He was well aware that the Earth revolved, / But he also had a large family to feed.”) For Shostakovich,
to be a hero, you only had to be brave for a moment … but to be a coward was to embark on a career that lasted a lifetime. You couldn’t ever relax. You had to anticipate the next occasion when you would have to make excuses for yourself, dither, cringe, reacquaint yourself with the taste of rubber boots and the state of your own fallen, abject character.
The Noise of Time is a short book, and I admire Barnes’s seeming desire, as with Roth and Bellow before him, to devote himself to short works in his late career. As Chekhov, put it: “Odd, I now have a mania for shortness. Whatever I read – my own work, or other people’s – it all seems to me not short enough.” That could be a sly slap, but Barnes’s book is just as long as it needs to be: early on I found myself marking most of the passages on most of the pages as relevant, notable or otherwise interesting. Chekhov would surely have approved.
The book raises interesting questions too about popularity and art. Here Power, being blunt and forceful, resents the subtlety and sharpness of art. Some of the accusations levelled against the “formalist” (i.e. non-populist) music in the book, presumably from real sources, are similar in content if not in effect to the cries of ‘pretension’ that ring out on Amazon reader reviews against books that don’t plough a familiar furrow. (I’m always surprised when people suggest that because they didn’t get anything from a book, there’s nothing to get, and that those who enjoy it are just pretending.) When Shostakovich, in The Noise of Time, writes a Power-pleasing oratorio The Song of the Forests including praise for Stalin, its “thunderous banality had ensured its immediate success.” Does success in the arts generally require such appeal to the lowest common denominator? It is impossible to say what kind of book will be successful (otherwise every thunderously banal book would sell shedloads), but easy to identify the sort of book which will not. The formally experimental, for example: as one independent publisher put it recently, rueing the failure of one of his titles to break through to wide readership, “politically engaged Russian prose poetry is never going to go mainstream.”
And what of Barnes’ own work? Earlier in his career he played joyfully with narrative conventions: a novel in short stories, a novel in encyclopaedia form, two novels where different narrators offer competing accounts directly to the reader. Recently he has become more conventional in form, and The Noise of Time shows a weakness for too-neat repetition of motifs (the Belomory cigarettes! the grabbing hands! the leap years!), but the prose still simmers with cleverness and precision. Barnes works phrases around his head and around the page rigorously:
‘He could not live with himself.’ It was just a phrase, but an exact one. Under the pressure of Power, the self cracks and splits. The public coward lives with the private hero. Or vice versa. Or, more usually, the public coward lives with the private coward. But that was too simple: the idea of a man split into two by a dividing axe. Better: a man crushed into a hundred pieces of rubble, vainly trying to remember how they – and he – had once fitted together.
No, you never know what kind of book will be successful, either in commercial or artistic terms. When I was talking about The Noise of Time on Twitter, one writer said: “Well. Now I may have to send that ‘not sure there’s a market for a book about Soviet composers’ email back to a certain agent.” That, I suppose, is a measure of the Booker effect on Barnes, and an indicator of the caprices of literary Power.
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