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Barabbas, by par lagerkvist
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In this enigmatic and unforgettable Barabbas, with its sense of spiritual torment, its deep stirrings of faith, its sure response to the movements of the human mind, is expressed the riddle of Man and his destiny . . . and the cry of humanity it its death throes, bequeathing us its spirit to the night.
- Sales Rank: #5134728 in Books
- Published on: 1972
- Number of items: 1
- Dimensions: 5.51" h x .47" w x 7.87" l,
- Binding: Paperback
- 161 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
Searching for a reason to believe
By Karl Janssen
Barabbas, a novel by Swedish author Pär Lagerkvist, was published in 1950. The following year Lagerkvist was awarded the Nobel Prize in Literature, due in no small part to the critical acclaim this book received. The novel is based on the biblical story of Barabbas, who is briefly mentioned in each of the four Gospels. In the time of Christ, it was customary to pardon one prisoner during the holiday of Passover. The Roman prefect, Pontius Pilate, gives the people of Jerusalem the choice of whom to set free. They choose Barabbas, a convicted thief and murderer, leaving Jesus of Nazareth to be crucified.
Lagerkvist’s novel begins with the crucifixion of Christ. Barabbas, a free man, witnesses the event, and can hardly believe his good fortune at having escaped the fate of the man who is dying before him. He knows little about Christ or his teachings, but he finds the man strangely fascinating. Barabbas is tormented by the nagging thought that he should have been the one to die. He undergoes a drastic personality change, no longer enjoying wine, women, and theft as he used to. He seeks out information on Christ, and makes attempts to learn about the Christian faith, but he is not welcomed among the Christians. In many ways Barabbas is incapable of faith or religion. This is not a simple repentant-man-turns-over-a-new-leaf story, but something far more complex.
Having seen the 1961 film adaptation starring Anthony Quinn and Jack Palance, I approached the novel with some pre-conceived notions. Overall, the film is faithful to the general tone and message of the book, but it augments Barabbas’s interior conflict with sword-and-sandal action scenes designed to entertain. In the movie, Barabbas is trained to be a gladiator, but nothing like that occurs in the book. The Jack Palance character doesn’t even exist in Lagerkvist’s novel, and he wouldn’t really belong in it. If adapted for film today, Barabbas would be an introspective art-house indie film rather than an epic blockbuster.
What makes the novel so powerful is the fact that it can be appreciated from either a religious or secular perspective. Devout Christians will likely gravitate toward the novel’s examination of faith and find meaning in its underlying morality. Irreligious readers, however, can approach the book as a historical novel. Lagerkvist’s Jerusalem of two millennia ago is a free market of competing gods and prophets. Everyone is looking for something or someone to believe in and a sense of belonging. Rumors of Christ’s divinity and news of his death spread not like wildfire but in fits and starts, through second-hand testimony and overheard whispering in the streets. This is a far cry from the glorified depictions of early Christianity in romantic novels like Lew Wallace’s Ben-Hur or Henryk Sienkiewicz’s Quo Vadis. Lagerkvist doesn’t even take a stand on whether Christ was the divine son of God or just a wise philosopher punished for his revolutionary teachings. He leaves that for the reader to decide, and chooses instead to focus on the faith of the followers. Despite its biblical setting, Barabbas is a modernist, psychological novel that explores the sort of existential themes one might find in a work by Albert Camus. Barabbas’s quest can be seen as analogous to modern man searching for meaning in an empty life.
Barabbas is a brief book that can probably be read in its entirety in under two hours. Nevertheless, it is a great work of literature, filled with stark, moving scenes that will likely stick with this reader for a long time to come.
6 of 6 people found the following review helpful.
The Most Famous "Bit Player" in Literature
By Gio
Five otherwise divergent Gospel accounts of the Crucifixion -- those of Matthew, Mark, Luke, John, and Peter -- depict the scene in which the "crowd" clamors for the release of a thief/rioter named Barabbas rather than of Jesus of Nazareth. Pontius Pilate grants their choice, and we learn nothing more about this Barabbas, nothing about his prior life and nothing about his later fate. Lots of Biblical scholars, both Christian and Jewish, have challenged the historicity of the Barabbas scene, arguing that it was inserted and/or recast by those who copied and disseminated the Gospels in later centuries. One common argument is that Barabbas was actually "Jesus Barabbas", therefore that the predominantly Jewish crowd had clamored for the RELEASE of Jesus of Nazareth rather than his crucifixion. The name "Barabbas" is in fact plain Aramaic for "Son of the Father", which does sound suspiciously like "Son of God". But, by the magic of recorded sound, let's fly 16 centuries into the future, to the era of Heinrich Schütz and Johann Sebastian Bach, and listen to the plangent hoots of the "Jews" demanding the release of Barabbas and the death of Jesus. Yes, those few phrases from the Gospels, especially the Gospel of Matthew, played an odious role in the history of Christian anti-Semitism, being used insistently to label the Jews as "Christ-killers."
Pär Lagerkvist's short "gospel" of the non-Crucifixion of Barabbas is entirely a work of imagination; none of Lagerkvist's account of the later life of the pardoned criminal is based on historical sources. In Lagerkvist's tale, Barabbas is present at the crucifixion of the rabbi Jesus, a pitiful figure who could hardly be mistaken for any sort of saviour since he couldn't even save himself. Barabbas, however, is profoundly distressed by his unwitting role in the drama, and by the doubt that lurks in his mind over whether the man who died in his place might indeed have been more than a Man. He is unable to believe any such absurdity, yet he is also unable to dissociate himself from belief and believers. Lagerkvist's story has little to add or subtract from the issue of Jewish "guilt" for the Crucifixion; it's focused entirely on the dilemma of Barabbas's obsession with a "belief" he can't acknowledge. He was there, don't forget. He observed the transformation of simple material events into miracles, and rumors into gospel truths. He contributed, sometimes deliberately, to the codification of the Myth. His was the cynical lie about the Angel with the Flaming Sword who burst open the Tomb. Barabbas is the rational doubter, the man who can't lie to himself.
"Barabbas" has always been the most widely read of Lagerkvist's novels among anglophones, and its publication in 1951 coincided with the author's reception of the Nobel Prize for Literature. The later American film of Barabbas, with Anthony Quinn in the title role, certainly helped to popularize the book. But I think -- and pardon me for doing so -- that the ambiguity of "Barabbas" as a portrayal of spiritual/existential agony has also made the book more acceptable to a wider readership than Lagerkvist's earlier, harsher, more relentless depictions of human despair. The last thirty-some words of "Barabbas" are devastatingly ambiguous -- I won't quote them lest I spoil any reader's experience -- and can justifiably be interpreted as "redemptive" or as "nihilistic". If indeed Barabbas accepts belief in his dying moments, what does it mean? Belief in God, after all, is no proof of the Existence of God.
The Swedish word for 'strong' is "starka", and Barabbas is stark in both Swedish and English. Lagerkvist's style is spare. Lean and mean. Ruthlessly unadorned. This is not my own favorite of his books, but if you've never read him, it's probably the book to start with.
54 of 55 people found the following review helpful.
Tracing the footsteps of death
By Newton Ooi
This short novel by Scandinavian Nobel Prize winner Par Lagerkvist fills in a little hole left open by the Bible; specifically, what happens to Barabbas after the crowd chooses to crucify Jesus and spare his life. The book begins with Barabbas being freed. He is in a state of bewilderment, and something within him leads him to follow Christ to the cross, where he witnesses the death. Afterwards, he tries to pick up the pieces of his life and wanders through town. By coincidence, he encounters some of the 12 apostles at a small cafe without knowing who they are, though they know who he is. When he discovers their identities, he is somewhat drawn to them yet repulsed by their poorly-concealed anger. In quick succession, he witnesses the stoning of a female friend, works as a laborer on a wealthy estate, and travels to Rome. There he sees Rome burn down around him, discovers that this was done on orders of the emperor to be blamed on the Jews. He is captured along with some Jews (some of whom he recognizes from Golgotha) and killed.
The story is easy to read, yet delivers a very strong emotional impact. The different individuals Barabbas encounters are shown as very human, with faults and frailties that make the reader empathizes with them. The apostles that Barabbas meet are not Biblical heroes in any sense of the word, but grieving friends who wrench their hearts to try and not bear ill-will towards him. The various Roman soldiers and officials are shown as all too human; some cruel, some sympathetic towards the Jews and others apathetic.
The theme of death is pervasive throughout the book, as it starts with the death of Christ and ends with the death of Barabbas. Death seems to follow Barabbas at every step. He somehow feels this, but does not try to run; he has nowhere and noone to run to. Nearly all the people he meets end up dying; often at the hand of others. As such, the book not only portrays a man, but a society that places little value on life, less than that placed on money, law, order, revenge, honor, etc... Death is truly inescapable in the life of Barabbas, and he comes to realize near the end of the book that it is not how or when you die, but what you die for, something Christ tried to show him and everyone else at the beginning of the book.
In all, one of the best books by this Nobel Prize-winning author. This English translation is easy to understand; the story flows smoothly, the dialogue is simple, and human emotions are conveyed but with strength and subtlety. I highly recommend this book.
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