Departure(s) is the story of a man called Stephen and a woman called Jean, who fall in love when they are young and again when they are old. It is the story of an elderly Jack Russell called Jimmy, enviably oblivious to his own mortality.

It is also the story of how the body fails us, whether through age, illness, accident or intent. And it is the story of how experiences fade into anecdotes, and then into memory. Does it matter if what we remember really happened? Or does it just matter that it mattered enough to be remembered?

It begins at the end of life – but it doesn’t end there. Ultimately, it’s about the only things that ever really mattered: how we find happiness in this life, and when it is time to say goodbye.

Now a major film starring Academy Award nominees Jim Broadbent (Iris) and Charlotte Rampling (45 Years) Winner of the Man Booker Prize for Fiction in 2011 Tony Webster and his clique first met Adrian Finn at school. Sex-hungry and book-hungry, they would navigate the girl-less sixth form together, trading in affectations, in-jokes, rumour and wit. Maybe Adrian was a little more serious than the others, certainly more intelligent, but they all swore to stay friends for life. Now Tony is retired. He's had a career and a single marriage, a calm divorce. He's certainly never tried to hurt anybody. Memory, though, is imperfect. It can always throw up surprises, as a lawyer's letter is about to prove.

“We always believe that changing our mind is an improvement, bringing a greater truthfulness to our dealings with the world and other people. It puts an end to vacillation, uncertainty, weak-mindedness. It seems to make us stronger and more mature. Well, we would think that, wouldn't we?”

In these engaging and erudite essays, critically acclaimed writer Julian Barnes explores what is involved when we change our minds: about words, about politics, about books, about memories, about age and time.

The Pedant's ambition is simple. He wants to cook tasty, nutritious food; he wants not to poison his friends; and he wants to expand, slowly and with pleasure, his culinary repertoire. A stern critic of himself and others, he knows he is never going to invent his own recipes (although he might, in a burst of enthusiasm, increase the quantity of a favourite ingredient). Rather, he is a recipe-bound follower of the instructions of others. It is in his interrogations of these recipes, and of those who create them, that the Pedant's true pedantry emerges. How big, exactly, is a 'lump'? Is a 'slug' larger than a 'gout'? When does a 'drizzle' become a downpour? And what is the difference between slicing and chopping?This book is a witty and practical account of Julian Barnes' search for gastronomic precision. It is a quest that leaves him seduced by Jane Grigson, infuriated by Nigel Slater, and reassured by Mrs Beeton's Victorian virtues. The Pedant in the Kitchen is perfect comfort for anyone who has ever been defeated by a cookbook and is something that none of Julian Barnes' legion of admirers will want to miss.

In May 1937, a man in his early thirties waits by the lift of a Leningrad apartment block. He waits all through the night, expecting to be taken away to the Big House. Any celebrity he has known in the previous decade is no use to him now. And few who are taken to the Big House ever return.

So begins Julian Barnes’s first novel since his Booker-winning The Sense of an Ending. A story about the collision of Art and Power, about human compromise, human cowardice and human courage, it is the work of a true master.

**THE SUNDAY TIMES BESTSELLER** 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. First love has lifelong consequences, but Paul doesn't know anything about that at nineteen. At nineteen, he's proud of the fact his relationship flies in the face of social convention. As he grows older, the demands placed on Paul by love become far greater than he could possibly have foreseen. Tender and wise, The Only Story is a deeply moving novel by one of fiction's greatest mappers of the human heart.

'BARNES'S MASTERPIECE' - OBSERVER In May 1937 a man in his early thirties waits by the lift of a Leningrad apartment block. He waits all through the night, expecting to be taken away to the Big House. Any celebrity he has known in the previous decade is no use to him now. And few who are taken to the Big House ever return. 'Stunning' Sunday Times 'A profound meditation on power and the relationship of art and power... It is a masterpiece of sympathetic understanding... I don't think Barnes has written a finer, more truthful or more profound book' Scotsman 'A tour de force by a master novelist at the top of his game' Daily Express

Geoffrey Braithwaite is a retired doctor haunted by an obsession with the great French literary genius, Gustave Flaubert. As Geoffrey investigates the mystery of the stuffed parrot Flaubert borrowed from the Museum of Rouen to help research one of his novels, we learn an enormous amount about the writer's work, family, lovers, thought processes, health and obsessions. But we also gradually come to learn some important and shocking details about Geoffrey himself.

Amours de Voyage (1849) is a novel in verse and is arranged in five cantos, or chapters, as a sequence of letters. It is about a group of English travellers in Italy: Claude, and the Trevellyn family, are caught up in the 1849 political turmoil. The poem mixes the political ('Sweet it may be, and decorous, perhaps, for the country to die; but,/On the whole, we conclude the Romans won't do it, and I sha'n't') and the personal ('After all, do I know that I really cared so about her?/Do whatever I will, I cannot call up her image'). The political is important - hence the Persephone edition reproduces nine London Illustrated News drawings of the battlefront - but the personal dilemmas are the crucial ones. Claude, about to declare himself, retreats, then regrets his failure to speak. It is this retreat, his scruples and fastidiousness, that, like a conventional novel, is the core of Amours de Voyage. The poem thus contributed something important to the modern sensibility; it is a portrait of an anti-hero; it is about love and marriage (the difficulties of); and it is about Italy. Clough wrote to his mother: 'St Peter's disappoints me: the stone of which it is made is a poor plastery material; and indeed, Rome in general might be called a rubbishy place - The weather has not been very brilliant.' As Julian Barnes points out in his new Persephone Preface: 'If you want a one-word introduction to the tone, sensibility and modernity of Arthur Hugh Clough, you have it in that single, italicised (by him, not me) word: rubbishy.' Clough was unimpressed by Rome and so is his hero, Claude, 'a very unGrand Tourist'. 'What his friend Arnold perceived to be the weaknesses of Clough's poetry,' continues Julian Barnes, 'are precisely what over time have come to seem its strengths - a prosey colloquiality which at times verges on awkwardness, a preference for honesty and sarcasm over suavity and tact, a direct criticism of modern life, a naming of things as themselves. It is absolutely contemporary...It is also a highly contemplative and argumentative poem, about history, civilisation and the individual's duty to act. And it is, as the title tells us, a love story - or, this being Clough, a sort of modern, near-miss, almost-but-not-quite love story ( I am in love you say; I do not think so, exactlyA") with mismatching, misunderstanding, tortuous self- searching, and a mad, hopeful, hopeless pursuit leading us to a kind of ending.'

'As a mayor, I am responsible for the upkeep of rural roads; as poet, I prefer to see them neglected.' Jules Renard was a French literary figure of the late nineteenth century. Not a Parisian but a committed countryman, he was elected mayor in 1904 of the tiny village of Citry-le-Mines in a remote part of northern Burgundy. He had the soul of a rustic bourgeois but the ambition of a metropolitan, and his wife's money allowed him to move in elevated circles, though he seemed an awkward customer, a badger, and looked like one. He wrote fiction, journalism and drama, very successfully, but the Journal is Renard's masterpiece, the least categorizable work of the French fin de siecle. The Journal constitutes a profusion of entries, without stitching or pattern: mordant reflections on style, literature and theatre; portraits of family, friends and the Parisian literary scene; quasi-ethnographical observations on village life and notations of the natural world which are unlike anything except themselves. Samuel Beckett spoke of Renard in the same breath as Proust and Celine, wrote of the Journal that 'for me it is as inexhaustible as Boswell ' and believed his style was learnt from despair. Gide said the Journal was 'not a river but a distillery'. Sartre wrote that 'He invented the literature of silence'. But above all it is a moving and splintery piece of self-scrutiny. Julian Barnes has admired the Journal for many years and has made this new selection from the twelve hundred page Pleiade edition. Theo Cuffe's translation will help bring this fierce judge of human foibles to a new generation of readers.

*SHORTLISTED FOR THE COSTA BOOK AWARDS 2020* 'A bravura performance, highly entertaining' Evening Standard The Booker Prize-winning author of The Sense of an Ending takes us on a rich, witty tour of Belle Epoque Paris, via the life story of the pioneering surgeon Samuel Pozzi. In the summer of 1885, three Frenchmen arrived in London for a few days' shopping. One was a Prince, one was a Count, and the third was a commoner, who four years earlier had been the subject of one of John Singer Sargent's greatest portraits. The commoner was Samuel Pozzi, society doctor, pioneer gynaecologist and free-thinker - a scientific man with a famously complicated private life. Pozzi's life played out against the backdrop of the Parisian Belle Epoque. The beautiful age of glamour and pleasure more often showed its ugly side: hysterical, narcissistic, decadent and violent, with more parallels to our own age than we might imagine. **SHORTLISTED FOR THE DUFF COOPER PRIZE 2019**

Ford Madox Ford's great masterpiece exploring love and identity during the First World War, in a Penguin Classics edition with an introduction by Julian Barnes. A masterly novel of destruction and regeneration, Parade's End follows the story of aristocrat Christopher Tietjens as his world is shattered by the First World War. Tracing the psychological damage inflicted by battle, the collapse of England's secure Edwardian values - embodied in Christopher's wife, the beautiful, cruel socialite Sylvia - and the beginning of a new age, epitomized by the suffragette Valentine Wannop, Parade's End is an elegy for both the war dead and the passing of a way of life. 'The finest English novel about the Great War' Malcolm Bradbury 'The best novel by a British writer ... It is also the finest novel about the First World War. It is also the finest novel about the nature of British society' Anthony Burgess 'There are not many English novels which deserve to be called great: Parade's End is one of them' W.H. Auden 'The English prose masterpiece of the time' William Carlos Williams

A new edition of the Booker Prize winner Penelope Fitzgerald's best-loved novel of romance in post-war Italy, with a new introduction by Julian Barnes. The Ridolfis are a Florentine family of long lineage and little money. It is 1955, and the family, like its decrepit villa and farm, has seen better days. Only eighteen-year-old Chiara shows anything like vitality. Chiara has set her heart on Salvatore, a young and brilliant doctor who resolved long ago to be emotionally dependent on no one. Faced with this, she calls on her English girlfriend Barney to help her make the impossible match...

'A masterpiece... I would urge you to read - and re-read ' Daily Telegraph **Winner of the Man Booker Prize for Fiction 2011** Tony Webster and his clique first met Adrian Finn at school. Sex-hungry and book-hungry, they would navigate the girl-less sixth form together, trading in affectations, in-jokes, rumour and wit. Maybe Adrian was a little more serious than the others, certainly more intelligent, but they all swore to stay friends for life. Now Tony is retired. He's had a career and a single marriage, a calm divorce. He's certainly never tried to hurt anybody. Memory, though, is imperfect. It can always throw up surprises, as a lawyer's letter is about to prove. Now a major film

When it comes to death, is there ever a best case scenario? In this disarmingly witty book, Julian Barnes confronts our unending obsession with the end. He reflects on what it means to miss God, whether death can be good for our careers and why we eventually turn into our parents. Barnes is the perfect guide to the weirdness of the only thing that binds us all. Selected from the book Nothing to be Frightened Of by Julian Barnes VINTAGE MINIS: GREAT MINDS. BIG IDEAS. LITTLE BOOKS. A series of short books by the world's greatest writers on the experiences that make us human Also in the Vintage Minis series: Calm by Tim Parks Drinking by John Cheever Babies by Anne Enright Psychedelics by Aldous Huxley

Winner of the 2011 Man Booker Prize
One of "The Atlantic"'s Best Books I Read This Year
A novel so compelling that it begs to be read in a single setting, "The Sense of an Ending" has the psychological and emotional depth and sophistication of Henry James at his best, and is a stunning new chapter in Julian Barnes's oeuvre.
This intense novel follows Tony Webster, a middle-aged man, as he contends with a past he never thought much about--until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present. Tony thought he left this all behind as he built a life for himself, and his career has provided him with a secure retirement and an amicable relationship with his ex-wife and daughter, who now has a family of her own. But when he is presented with a mysterious legacy, he is forced to revise his estimation of his own nature and place in the world.

The Sunday Times Bestseller from the Winner of the Booker Prize She will change the way you see the world . . . 'I'll remember Elizabeth Finch when most other characters I've met this year have faded' The Times Elizabeth Finch was a teacher, a thinker, an inspiration. Neil is just one of many who fell under her spell during his time in her class. Tasked with unpacking her notebooks after her death, Neil encounters once again Elizabeth's astonishing ideas on the past and on how to make sense of the present. But Elizabeth was much more than a scholar. Her secrets are waiting to be revealed . . . and will change Neil's view of the world forever. 'Enthralling . . . A connoisseur and master of irony himself, [Barnes] fills this book with instances of its exhilarating power' Sunday Times 'A lyrical, thoughtful and intriguing exploration of love, grief and the collective myths of history' Booklist

The updated edition of Julian Barnes' best-loved writing on art, with seven new exquisite illustrated essays 'Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue... It is a rare picture which stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.' Julian Barnes began writing about art with a chapter on Gericault's The Raft of the Medusa in his 1989 novel A History of the World in 101/2 Chapters. Since then he has written a series of remarkable essays, chiefly about French artists, which trace the story of how art made its way from Romanticism to Realism and into Modernism. Fully illustrated in colour throughout, Keeping an Eye Open contains Barnes' essays on Gericault, Delacroix, Courbet, Manet, Morisot, Fantin-Latour, Cezanne, Degas, Cassatt, Redon, Van Gogh, the legendary critic Huysmans, Bonnard, Vuillard, Vallotton, Braque, Magritte, Oldenburg, Howard Hodgkin and Lucian Freud. It also offers new perspectives on the fruitful relationship between writers and artists, and on the rivalry among Russian collectors of French art in the late 19th century. 'A typically elegant and absorbing book by one of the greatest contemporary English writers.' Guardian *Books of the Year* 'Gave me a new confidence in how to understand and, more importantly, enjoy wandering around an exhibition.' Mariella Frostrup 'My book of the year.' Natalie Haynes, Independent

Now a major TV series starring Martin Clunes, Arsher Ali and Art Malik From the winner of the Man Booker Prize for Fiction 2011, an extraordinary true-life tale about a long-forgotten mystery... Arthur and George grow up worlds apart in late nineteenth-century Britain: Arthur in shabby-genteel Edinburgh, George in the vicarage of a small Staffordshire village. Arthur is to become one of the most famous men of his age, while George remains in hard-working obscurity. But as the new century begins, they are brought together by a sequence of events that made sensational headlines at the time as The Great Wyrley Outrages. This is a novel about low crime and high spirituality, guilt and innocence, identity, nationality and race. Most of all it is a profound and moving meditation on the fateful differences between what we believe, what we know and what we can prove.

In these seventeen essays (and one short story) the 2011 Man Booker Prize winner examines British, French and American writers who have meant most to him, as well as the cross-currents and overlappings of their different cultures. From the deceptiveness of Penelope Fitzgerald to the directness of Hemingway, from Kipling's view of France to the French view of Kipling, from the many translations of Madame Bovary to the fabulations of Ford Madox Ford, from the National Treasure Status of George Orwell to the despair of Michel Houellebecq, Julian Barnes considers what fiction is, and what it can do. As he writes in his preface, 'Novels tell us the most truth about life: what it is, how we live it, what it might be for, how we enjoy and value it, and how we lose it.' When his Letters from London came out in 1995, the Financial Times called him 'our best essayist'. This wise and deft collection confirms that judgment.

"I cannot remember when I enjoyed a first novel more." --"Daily Telegraph"
Winner of the Man Booker Prize for Fiction 2011.
Christopher and Toni found in each other the perfect companion for that universal adolescent pastime: smirking at the world as you find it. In between training as flaneurs and the grind of school they cast a cynical eye over their various dislikes: parents with their lives of spotless emptiness, Third Division (North) football teams, God, commuters and girls, and the inhabitants of Metroland, the strip of suburban dormitory Christopher calls home. Longing for real life to begin, we follow Christopher to Paris in time for "les evenements "of 1968, only to miss it all in a haze of sex, French theatre and first love, leading, to Toni's disappointment, back to Metroland.

You put together two things that have not been put together before. And the world is changed... In Levels of Life Julian Barnes gives us Nadar, the pioneer balloonist and aerial photographer; he gives us Colonel Fred Burnaby, reluctant adorer of the extravagant Sarah Bernhardt; then, finally, he gives us the story of his own grief, unflinchingly observed. This is a book of intense honesty and insight; it is at once a celebration of love and a profound examination of sorrow. **ONE OF THE GUARDIAN'S 100 BEST BOOKS OF THE 21st CENTURY**

**THE SUNDAY TIMES BESTSELLER** 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. First love has lifelong consequences, but Paul doesn't know anything about that at nineteen. At nineteen, he's proud of the fact his relationship flies in the face of social convention. As he grows older, the demands placed on Paul by love become far greater than he could possibly have foreseen. Tender and wise, The Only Story is a deeply moving novel by one of Britain's greatest mappers of the human heart.