The Sense of an Ending读后感10篇

　　《The Sense of an Ending》是一本由Julian Barnes著作，Jonathan Cape出版的Hardcover图书，本书定价：GBP 12.99，页数：160，文章吧小编精心整理的一些读者的读后感，希望对大家能有帮助。

　　《The Sense of an Ending》读后感(一)：A review by Miss Lai Xiaochan

题目The sense of an ending究竟怎么解释呢？是终结的感觉？结束的意义？到了书的结尾，作者也没有道破各种机关，我们依然不能确定究竟发生了哪些事，那本日记已经不再是紧迫的悬念，在倒数第三页抛出让叙述者震惊也让读者震惊的最后一个信息以后，作者成功地把不安延续到最后一个字。托尼明白了，可是读者未必明白。一口气读完的书，却需要你回过头仔细去寻找去比对，认真想想拼凑出大致图案。托尼开场就告诉我们，回忆是不可靠的。但是我们别无选择，还是得听他说。从中学回忆起，他并不怀旧，具体的事件不一定准确，但印象如此：托尼、科林、阿利克斯组成三人党，因为亚瑞安的加入变成四人帮。这个低眉独思的男孩，认识最初其实吸引老师更甚，是拿奖学金去好学校的苗子。三人常常戏谑骂人，偶尔认真，亚瑞安恰恰相反。年少轻狂的三人对什么都看不顺眼，尤其是父母，而亚瑞安不这样，他母亲离家出走，他说他爱母亲尊重父亲。这叫三人羡慕之余，提出理论认为快乐家庭就是没有家庭，或者说不住一起的家庭。亚瑞安让他们相信理性思考理应运用于引导生活，此前，三人党中属亚历克斯引领哲学思考，他卖弄的是罗素和维特根斯坦，亚瑞安的出现让他地位不保，或者说让托尼和科林多了加缪和尼采的选项。男孩子们读各种书，也会谈论性。不过父母担心其实有点多余，他们的经历都算简单。中学毕业，踏上各自的路，大家说要保持终生友谊：亚瑞安不出所料拿奖学金上了剑桥，托尼进布里斯托念历史，科林就读苏塞克思，亚历克斯跟着进父亲的行当。他们放假聚会没有预想的多，相互写信，但是大家还是写给亚瑞安最多。托尼交了个女朋友，叫维罗妮卡。托尼不太会追女孩子，不过还是渐渐走近这个念西班牙语的小巧女生。他们在一起听唱片，交流看的书，维罗妮卡的观点总是比托尼的更犀利一些。假期，维罗妮卡邀请托尼去她肯特的家过周末。托尼见到她的公务员父亲，哥哥杰克，略有艺术气质的母亲。不过那个周末托尼过得并不自在，比如便秘，晚饭后的交谈他觉得像审问，维罗妮卡也没有说完晚安吻他等等。第二天父子父女去散步，留下托尼和母亲吃早餐，托尼记得母亲说了句别让维罗妮卡得手太多，让他不太明白。几周后，托尼把维罗妮卡介绍给死党们，托尼还帮他们拍了张合照。他们的恋爱关系在肢体接触上更近了些。某天她带了茶点过来喝茶，幽幽问起二人关系朝何处去，托尼反问不正面回答，维罗妮卡说托尼是懦夫，托尼自辩是平和。那大概是二人关系终结的开始。托尼说，布里斯托岁月并非只有念书和维罗妮卡，他记得曾经去看过塞文潮。他们分手后睡过一次觉。俩人不是一个专业，布里斯托又够大，没有怎么撞见彼此。暑假里托尼收到维罗妮卡母亲的信，得知两人分手深感遗憾，不过希望托尼能找到更合适的人。托尼就此安心学习，不是第一名的料，那至少要考进中游。大四过半，他收到亚瑞安的信，请托尼同意他和维罗妮卡约会。托尼回了张克里弗顿吊桥明信片。反复看过亚瑞安的信后，托尼自怜之际又写了封信，对他们俩评论一番并且让亚瑞安要小心，问问维罗妮卡的母亲就知道了。他决心从此以后把这两人永远逐出自己的生活。此后，和科林还有亚历克斯的联系也少了。托尼跑美国游荡半年，还和美国女孩安妮谈了三个月恋爱，回到英国，得知亚瑞安自杀了。一年后，曾经的三人党聚会，纪念亚瑞安，但从此各奔东西不再联络。托尼从事艺术管理工作，一干就是一辈子。他遇见玛格丽特，和她结婚生女买房过日子。后来托尼离婚，女儿苏西由他们俩共同抚养。苏西长大后嫁了医生生了两个孩子。玛格丽特第二次婚姻也以离婚收场，托尼交了女朋友她都见过，两人关系保持得不错。现在托尼六十几岁了，退休在家，是地方历史协会会员，在医院图书馆做做义工。托尼说搞不懂时间。即便孜孜不倦保留文字、声音、图片，所记下的未必对路。这天，托尼收到一封信，“关于过世的萨拉福特夫人事宜”，联系律师之后，他得知根据遗嘱自己获得五百镑和两份文件。托尼百般思索，不明白大学时期前女友的母亲为何有此举动，又重新想起四十年前那个周末来。律师问托尼要了银行帐户，并把第一份文件给托尼，那是一封信，至于第二份文件给她女儿拿走了。萨拉写道，“你该得到附上的，亚瑞安常提到你，或许那是你久远的记忆了，不知道让你觉得有趣还是痛苦。留给你一点钱，你可能觉得奇怪，我也不知道为什么。不管怎样，很抱歉多年前我家人对你不够好。希望你过得好。你的萨拉福特。另外：可能听起来有点怪，不管亚瑞安最后几个月过得很快乐。”托尼从律师处得知第二份文件是一本日记，亚瑞安的日记。托尼开始平静生活外的探寻。过去的一切都给他烧掉了，留下来唯一的是那张不带他的合照。他从律师处拿到维罗妮卡哥哥杰克的电子邮箱地址，问他可否提供维罗妮卡的联络方式。几次交锋下来拿到了，写邮件。维罗妮卡的回信没有内容，只是一个标题“带血的钱”。托尼不懂。托尼开始邮件行动，不停地写邮件给维罗妮卡。于是，律师给了一张日记的复印件，内容是亚瑞安的一些思考，还有公式b=s-v+a 或者a2+v+a1×s=b 。托尼仍然不明白。继续邮件攻势。于是，维罗妮卡同意见面。她说日记已经烧掉了，交给托尼一封信。托尼回去隔天才打开信封。那是他自己写给亚瑞安的信，措辞恶毒激烈乃至最后咒骂他们两人生孩子没屁眼，让老年托尼对少年托尼感到难以置信，他多希望维罗妮卡烧掉的是这封信。他从自己想到维罗妮卡再想到亚瑞安，想起来当初那张明信片的克里弗顿吊桥，是许多人自杀的地方。托尼写邮件道歉，迟到四十年的歉意。维罗妮卡说，你还是没明白。托尼又写信问起维罗妮卡家人情况，维罗妮卡说父亲三十五年前就患癌症过世了，而后母亲搬到伦敦，直到一年前情况变糟去世。托尼现在再回想，觉得对那个周末的记忆有误，维罗妮卡第二天晚安前吻过他，而且在家人前拉起他的手等等，现在谷歌搜索，路上并没有经过他父亲提到的教堂咖啡馆什么的。托尼请求维罗妮卡再见个面。他们吃了午饭，托尼说完自己的这些年，维罗妮卡走了。托尼表示希望多知道一点她和家人这些年的事。他们约好在伦敦一个地方碰头，驱车到了一个街区。托尼看到个长胡子的人嚷嚷着要去酒吧，几个社区护工照料他，说肯，周五才是去酒吧的日子。维罗妮卡下车，托尼也想下，她让他呆车里。他们认出维罗妮卡跟她打了招呼，围住她寒暄，最后他们道别。那人叫着“玛丽再见”，还过来说我们去商店买东西。开车回去维罗妮卡一言不发，又是托尼唱独角戏。托尼开始定期光顾那个区域。商店酒吧都去，他常看到那个肯和护工们。肯高高瘦瘦，深度近视，大约四十岁。他对肯说他是玛丽的朋友，肯先笑了然后惊恐起来，护工说现在他特别怕惊吓，作为玛丽的朋友你懂的。托尼突然明白了，这是亚瑞安的儿子。托尼知道自己当年的咒骂是多大的过错，给朋友的生活带来如此恶果。他又写信向维罗妮卡致歉，希望她和她的儿子过平静的生活。维罗妮卡回信很简短：你还是没搞清楚。你从来不明白，也永远不会懂。别白费力气了。托尼还是不时去那个区域吃饭什么的。这一天，护工和肯又出现了。其中一个护工过来说，你的出现让亚瑞安紧张。托尼重复这个名字，嗯，他当然也叫这个名字。护工和他聊了几句，他说是亚瑞安父母过去的朋友，你们叫她玛丽我以前叫她维罗妮卡，好久没见着了云云。护工说你搞错了，玛丽是亚瑞安的姐姐，亚瑞安的母亲半年前去世了，所以他情绪不稳定。托尼震惊了，他终于明白：为什么福特夫人有亚瑞安的日记，为什么说她觉得他最后几个月其实很快乐。他明白了，公式里都表示什么，a1是亚瑞安，a2是托尼，亚瑞安严肃的时候总这么叫托尼，而b就是宝宝。高龄母亲生下带有缺陷的孩子。他叫亚瑞安去问维罗妮卡的母亲。托尼都搞清楚了。一切积聚，还有责任，除此之外，就是不安，深深的不安。人生经历的当下，未必明白；追溯地看，依旧未必完全明白，回忆如此不堪一击，什么都颠覆了。托尼说他明白了，可我们真明白了吗？
[This book was shared in the Hongqiao International Library Book-crossing activity. To find our more, please visit our home page on Douban (http://www.douban.com/people/50946105/).]

　　《The Sense of an Ending》读后感(二)：二手人生

读第一部的时候，有《挪威的森林》的赶脚，六十年代，高中同学自杀，死亡与性......
性与死亡，历史，一个人的一生也是历史（也许标题也可以叫“小历史”哈哈），时间。大概这些就是叙述者在回忆的，讨论的，争辩的。
贯穿始终的是，叙述者在不停的反思他的人生和他青年时期设想的人生——文学作品里一样的人生，两者之间，嗯，也许可以说是落差吧。谁不是呢？大把的文青最后不是都不过如此？
我喜欢结尾，出人意料？简直是让人骇笑皆非，够无稽也够荒诞，进一步将Adrian在Tony 心中原有的形象颠覆到底，更底了。如果说叙述者对自己的人生定性为average，二手人生的话，起码他对于这个青年时期就在思想上卓尔不群的同伴抱有一种——敬意（？）吧，认为他的人生更加接近第一手资料，甚至是自杀，用他和另两个同伴的讨论，都被定性为自己对自己人生的掌控（貌似很酷的），因此我们不难想象到真相揭晓之后的讽刺性，如果我们联想一下当初他们是怎么对另一个因为把女友肚子搞大而自杀的同学做的结论的：he, being about to cause an increase of one in the hunman population, had decieded it was his ethical duty to keep the planet's numbers constant，便更加爆笑不已。也难怪Tony要感到great unrest了，他现在对于“第一手人生在哪里”更加困惑了。
而他已经接近垂垂老矣。
the sense of an ending。

　　《The Sense of an Ending》读后感(三)：what happened, happening

The begining of the book is very interesting ans attractive. Then, quickly, this interesting part just faded away. Here came the deｓｃｒｉｐｔion of mind activities and thinkings about history, life and relations, which made me a liitle bit worried and disappointed. Soon, the author just throw me an unexpected change of life pattern, an astonishing ending and his assumption to end the first part of the story. To the first part, history is the lies of victors and the story told by survivors.

And in the second part, the past gradually make the story complete. Facts, memoriesand realities. Due to all kinds of reasons, people will unconsciously change their memory. That's why history is so attractive. People change their memory and persuade themself to believe it. But what happened happened. Those facts will turned up sometimes to show they once existed.

Regrets, responsibility, accumulation and the most important thing: huge unrest.

　　《The Sense of an Ending》读后感(四)：是我们太平庸还是仅仅颁发给你一个鼓励奖？

     之前在亚马逊. UK 上看到Julian Barnes去年获得布克奖（the man booker prize 2011）的《the sense of an ending》，于是买来读。全书只有150页，size也不大，随身携带很方便。封面采用中国山水画墨染的效果，非常吸引人。正在飞舞的蒲公英一只处在封面左边，让人不觉得产生一种凄凉和孤独感。
作为Julian Barnes，这位在现代文学界里颇有影响的英国作家，出版的第十一本书得到布克奖也不是新奇得事情，况且根据之前他的一生的贡献和成就（比如有三年时间参与过牛津字典的校对和编撰工作），得奖之后众多评论家对此的争议，反而让人反思。每一年度的颁奖是该仅限于当前的作品还是该综合考虑作家的全部成就来判定他或她的水平呢？很多人在网络上发表看法，认为Julian Barnes已经才气全无，这样一本书也配得到布克奖？150页的书在倒数第三页开始揭露谜团，然后在三页里主人公Tony说他明白了大半生寻求的好友之死的原因，明白了其他很多很多。可是我不明白，真的，我一度觉得是因为我读的是英文原版，所以很多语境没母语念的更有理解力。可是当我查看大家在一些比较知名的网站上发表的书评之后，我觉得要不我就得再读一遍，要不就是大家都一样，读完后心里反问一句，就这么结束了？由于只有150页，我觉得怎么的算个中篇小说吧，但是对于它被归类到悬疑小说，我表示有点疑虑。整书分两部分，第一个是说主人公T和其他好友3人学生期间的回忆，第二部分是T中年到退休的反省，以及对好友A当年自杀真相的追寻。
   确实在倒数第三页公布震惊信息，但是作为布克奖获得者，加上Julian Barnes多年修炼的文学功底，不会就这么简单吧？Lily的部落格（大多为书评，并且文章被国内某出名办刊杂志收买）里也有对此书的评价，作者表达了对Julian Barnes的失望。豆瓣上也有网民说看到结局反而把五星评价给换成四星了。在豆瓣上我是只给了四星，全书在语句上不用质疑的体现了作者的功底，几乎每翻几页就有一些字句值得highlight。可是我又在想，是否因为我们仅仅是看热闹的读书人，所以才没有深刻理解作者在这本小说里想表现的惊人结局呢？

　　《The Sense of an Ending》读后感(五)：Quotes

What you end up remembering isn't always the same as what you have witnessed.
History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation.
How often do we tell our own life story？ How often do we adjust, embellish, make sly cuts？ And the longer life goes on, the fewer are those around to challenge our account, to remind us that our life is not our life, merely the story we have told about our life. Told to others, but—mainly—to ourselves.

　　《The Sense of an Ending》读后感(六)：Quotes

besides others
* Everyday is Sunday.
多好的墓志铭啊
* Automatically, I ate a chip. Then another. There wasn’t enough salt on them. That’s the disadvantage of fat chips. They have too much potatoey inside. With thin chips, not only is there more crispy outside, but the salt is better distributed too.
这一段让我印象深刻，原因有二：
1. 刚好那段时间我很喜欢吃薯条，并且在不同餐厅尝试了不同的薯条，认为文中的话十分有道理。如果要说得更准确一点的话：决定薯条是否美味的因素除了温度（温度本身很重要，且它很大程度上影响了薯条的硬度），还有盐。甚至盐比温度重要。盐量适中的变软变冷的薯条还是可以吃的。KFC的薯条、胖薯条都是盐太少了，因而不好吃。
2. 这段话准确反映了“人在重要关头容易逃避问题，不自觉地将注意力转到一些无关的细节上”的现象。这样的描述很生动。小说通过这样的描述来表现主人公的惊异，是巧妙的。在这一段之前，作者写了主人公与侍者对于能否把手工切的薯条弄细一点的争论，算是铺垫。不过，我不喜欢“小说的每一段话必然服务于某个目的，或者推进情节发展，或者描绘人物形象”的论点。它过于绝对，“必然”意味着“毫无例外/惊喜”，因而显得无趣。我倒情愿作者先前没有铺垫（读到这一段时候突然意识到先前的争论是铺垫，那样的感觉太糟糕了），写到此处突然想起一条关于薯条的宝贵的生活经验，便顺手写了。我觉得，读小说时候，比起发现作者写作技巧不错，意外发现作者也是一个对薯条花过心思且与我结论相近的人，显然要开心许多。

　　《The Sense of an Ending》读后感(七)：[ZZ New Stateman] Leo Robson On The Sense of an Ending

在我目前看到的关于此书的评论中，这是一篇最富见地最有深度也最为中肯的否定批评，贴出来与大家分享http://www.newstatesman.com/books/2011/08/barnes-tony-sense-life-novel
Martin Amis likes to quote Julian Barnes as saying that novelists write "around" their themes rather than "on" them. While Amis's own generalisations are the product of a refusal to say "in my experience", however, Barnes's remark is true in most cases - just not in his.
Starting with Metroland, published in 1981, Barnes has exhibited a preference for essayism and schematic structures over indirection and organic drama, for the comforting obedience of types over the potentially disquieting autonomy of characters.
He has written a shelf of novels that purr with the same contented ease as the essays collected in Letters from London and Something to Declare. Immune or averse to the strictures for authorial conduct set down by Flaubert ("must be . . . present everywhere and visible nowhere"), Barnes has taken refuge in facts and riffs and quips. This is a position rather than a problem per se, and an approach that the novel (neither Flaubert's invention nor his property) certainly permits. Yet making it work depends overwhelmingly on such non-dependable quantities as wit and charm, and the results when it fails can be exasperating.
Barnes's new novel, which borrows the title of a book by Frank Kermode, is a tale or study of reflection and reminiscence, an exercise in old-school Barnesian conversation, but in tune with the late-Barnes mood initiated by The Lemon Table (2004) - still too clever by more than half but with a new sobriety. The Sense of an Ending is concerned mainly with what Kermode calls the "problem of making sense of the way we make sense of the world", but the insights don't extend much beyond a line from Flaubert's Parrot: "The past is autobiographical fiction pretending to be a parliamentary report."
The book's narrator, Tony Webster, is a rueful, solitary sixtysomething like the Flaubert-fixated Geoffrey Braithwaite, but he describes an early-Sixties adolescence similar to that of Christopher Lloyd in Metroland - commuting from the suburbs to a London day school, envying a friend who reinforces his lack of daring and glamour. The friend is Adrian, introduced, like Charles Bovary, as the "new boy" in class, but he turns out to have more in common with Christopher's Jewish friend Toni, whose "swarthy, thick-lipped Middle European features" emphasised Christopher's "snub-nosed, indeterminately English face".
Adrian's exoticism is neither religious nor racial, but social - he comes from "a broken home" - and intellectual: "If Alex had read Russell and Wittgenstein, Adrian had read Camus and Nietzsche." Adrian's tastes are Continental, and so is his spiritual allegiance: "I hate the way the English have of not being serious about being serious. I really hate it." In contrast to everyone else, he has a life that is "novel-worthy".
The second section of the book portrays the recent circumstances, involving an unexpected bequest, which have prompted Tony's memories of his adolescence and exacerbated his regrets about the cowardice and passivity of his middle years ("Life went by"). Having realised how little he understood as a boy, Tony errs - deafeningly - on the side of caution: "I couldn't at this distance testify", "to be true to my memory, as far as that's ever possible", "Again, I want to stress that this is my reading now of what happened then", "At least, that's how I remember it now". He is so conscientious in elaborating on what his story means, and so plain-spoken in setting out his character ("a man who found comfort in his own doggedness"), that the reader is left with nothing to do.
In a recent essay on - or rather around - Lydia Davis's translation of Madame Bovary, Barnes took a swipe at Kazuo Ishiguro (identified as a "contemporary author"), and yet he would have benefited from observing Ishiguro's subtle example. The narrators of The Remains of the Day and When We Were Orphans reveal a great deal about themselves without being eloquent or analytical - and a great deal about time, history and memory without making those words the commonest in their vocabulary.
Even if Barnes intends Tony's reflections to sound ridiculous - and it is hard to tell - he uses them to point up his concerns. Time, Tony says, "holds us and moulds us", "first grounds and then confounds us". The classroom discussions recalled in the opening pages prepare (or, as Tony sees it, foreshadow) the ideas that emerge in the novel about our attempts to impose a narrative shape on the data of our lives, and the inevitable bias and blind spots of the person doing the imposing.
Given that Tony is looking back on a period that wrought great changes in him, it is odd that his narration should rely so heavily on conceits and sly reversals and quotations and rhetorical questions - that he is still so unserious about being serious. Even 15 pages from the end, he remains consumed with the inessential, describing a gentrified pub that offers "chargrilled this and that", and one of whose four blackboards bears "an epigrammatic thought for the day, no doubt transcribed from some corporate book of wit and wisdom". Tony is fond of the word "life", observing, in another riff, that footballers have their best years behind them before they have even understood "what life's about". But what, in Julian Barnes's vision, is life about anyway？
I never thought I would have cause to say this, but Gabriel Josipovici may have been on to something in What Ever Happened to Modernism？. "Reading Barnes," he wrote, "leaves me feeling that I and the world have been made smaller and meaner . . . The irony which at first made one smile, the precision of language, which was at first so satisfying, the cynicism, which at first was used only to puncture pretension . . . come to seem like a terrible constriction, a fear of opening oneself up to the world." Josipovici traces the "petty-bourgeois uptightness" of Barnes and his kind back to Philip Larkin, three of whose lines Tony quotes in The Sense of an Ending, identifying him simply as "the poet".
Yet you don't need Josipovici's allegiances and antipathies to feel enervated by Barnes's "smartness". Like Amis, especially in The Information and The Pregnant Widow, and Craig Raine in Heartbreak, Barnes possesses not just an ironic but an almost post-novelistic sensibility. I say almost: theirs is a form of scepticism about artifice and stories - but with a strain of sentimentalism, a taste for the plaintive and dewy-eyed when it comes to sex, fading vitality and death. But knowingness predominates.
The result, in this instance, is an odd and unnerving sort of novel, in which even a deｓｃｒｉｐｔion of a lawyer is reduced to the status of feed line: "Mr Gunnell is a calm, gaunt man who doesn't mind silence. After all, it costs his clients just as much as speech." In one of many digressions - this time on insurance companies - Tony recalls: "Towards the end of my marriage, the solid suburban villa Margaret and I lived in suffered a little subsidence. Cracks appeared here and there, bits of the porch and front wall began to crumble. (And no, I didn't think of it as symbolic.)" A novelist so insistent on staying one step ahead may find himself without readers to follow him.
Leo Robson is the New Statesman's lead fiction reviewer

　　《The Sense of an Ending》读后感(八)：很有哲理的小说

  "The more you learn, the less you fear. 'Learn' not in the sense of academic study, but in the practical understanding of life." （对生命的理解越多，越无所畏惧）。是啊，随着年龄的增长，我们越来越不会患得患失，越来越笃定。至少我非常相信"nothing to lose"这句话，因为一个人所拥有的最珍贵的东西，就是身体和装这幅皮囊里的东西了。没有人可以夺走你最珍贵的东西，除非生命终止。
当我们年龄越来越大，我们更加无所畏惧，甚至可以平静地想象自己走向生命终点的场景和心情。可是，当我们回想这一生的历程呢？又会是怎样的心情？这个恐怕很少人会预先知道。这，正是作者想展现的。
关于书名，窃以为是作者的拷问：人们习惯于追根究底，可是，知道真相真的是好事么？事实上，真相往往很不堪，还是不要苦苦追究的好。或许有时没有ending的故事反而更美。这点也是贯穿本书的线索，主人公费尽心思追求真相，到头来只剩唏嘘。

　　《The Sense of an Ending》读后感(九)：The sense of a closure.

Time can be rewritten --- in your head.
Funny though, when I look back and see you in a blur. You are so very blurry but still, you shine like a fxxking star.
How frustrating.
My time with you, was a big wobbly mess. So like Tony, I furnished it up and sink it into the deepest corner of existence, so I will never voluntarily remember you and if I have to, I would considere all that experience an education.
The desire to manipulate the past is so strong, because we have to survive. We have to struggle to the surface and breathe. So yes, I understand Tony's peacefulness. He's not passive, no, he's far beyond that. He's so passive that he takes fiercely active actions to justify his passiveness. Not exactly pure passivity, when you consider this.
Personal history stands up against the history of mankind, the history of the collective fate. Makes you wonder if you could really change the predestined direction even if you are motivated enough.
The ending starts before the beginning, and ends way after the conclusion.
Basically, you are never gonna find a closure.
That's why this book shocks me. Not because the discussion of the reliability/ unreliability of history, the discovery of a "tangible memory" --- namely a memory with evidence in the present time --- or the inability to steer your own life. What I do know is that try as hard as I may, I will never forget you, and all that much pain.