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Martin Amis

Inside Story Gebundene Ausgabe – 27. Oktober 2020

Englisch Ausgabe von Martin Amis (Autor)

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From one of the most highly acclaimed writers at work today: his most intimate and epic work yet--an autobiographical novel of sex and love, family and friendship.

This novel had its birth in the death of Martin Amis's closest friend, the incomparable Christopher Hitchens, and it is within that profound and sprawling friendship that Inside Story unfurls. From their early days as young magazine staffers in London, reviewing romantic entanglements and the latest literary gossip (not to mention ideas, books, and where to lunch), Hitch was Amis's wingman and adviser, especially in the matter of the alluringly amoral Phoebe Phelps--an obsession Amis must somehow put behind him if he is ever to find love, marriage, a plausible run at happiness. Other significant figures competing as Amis's main influencers are his father, Kingsley; his hero Saul Bellow; the weirdly self-finessing poet Philip Larkin; and significant literary women from Iris Murdoch to Elizabeth Jane Howard. Moving among these greats to set his own path, Amis's quest is a tender, witty exploration of the hardest questions: how to live, how to grieve, and how to die. In search of his answers, he surveys the horrors of the twentieth century, and the still-unfolding impact of the 9/11 attacks on the twenty-first--and considers what all of this has taught him about how to be a writer. The result is a love letter to life--and to the people in his life--that achieves a new level of confidentiality with his readers, giving us the previously unseen portrait of his extraordinary world.

Seitenzahl der Print-Ausgabe

320 Seiten
Sprache

Englisch
Herausgeber

KNOPF
Erscheinungstermin

27. Oktober 2020
Abmessungen

16.41 x 3 x 24.23 cm
ISBN-10

0593318293
ISBN-13

978-0593318294
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Produktbeschreibungen

Pressestimmen

NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST

“Inside Story is a book of gloriously unchecked preoccupations: sex, Saul Bellow, literature, sex, Philip Larkin, anti-Semitism, aging, smoking, sex, Christopher Hitchens, terrorism, suicide. Did I mention sex? . . . Amis’s recollections of flirting and seductions in 1970s London are like strikes of lightning, vivid glimpses of a young writer on the make . . . Fans will revel in the excess and piling up of Amis’s sentences, which are both wired and ruthlessly controlled.” —Taylor Antrim, Vogue

“A five-course meal of a book—with frequent palate cleansers of Amis-bouches. It’s a memoir tucked inside an endearingly discursive novel.” —David Friend, Vanity Fair (“The 15 Best Books of 2020”)

“The great lines come flying at you, as always, volleyed out of the cleft of the book and into the magic space beneath your raised eyebrows . . . and there are good jokes, too . . . [Amis] wants to lance the moment with language, and he wants his language to live forever . . . I put the book down in a mood of deep and disquieted self-consideration. How do I measure up to all this? Not the writing, but the level of perception, the level of interrogation, the level of work, the level of living. And then the mood passed, and as a reader I felt—like an absolution—the gaze of the author, and his understanding. That’s greatness. That lasts.” —James Parker, The Atlantic

“Warm, generous and deeply moving, whether on the subject of fatherhood, love or friendship (particularly with Christopher Hitchens). This is not only the best book Amis has written in years; it is up there with Money and London Fields as the finest work he’s produced.” —Alex Preston, The Observer

“One of [Amis’s] liveliest and most entertaining works . . . Amis writes with real feeling.” --Kurt Wenzel, The East Hampton Star

“Now 71, this once-young buck of the British literary scene cannot help but look death, mortality and the meaning of life squarely in the face. And he does so with a singular panache and much offhanded wit . . . [Inside Story] caps Amis’ estimable literary career with cheeky candor and more than a touch of razzle-dazzle.” —BookPage

“Brilliant . . . Abounds with entertaining anecdotes . . . [Amis] explores the rich terrain of how matters of the heart (and loins) inform art . . . Stylistically, Inside Story is most reminiscent of Dylan’s Chronicles, a master artist following his muse to create a genre-defying and career-defining work.” —Booklist (starred review)

“Hitchens lived his life as extravagantly as he loved it, and Amis’s elegant tribute to his friend is a monument to both of them.” —Kyle Smith, New Criterion

“Deeply engaging . . . Resembles Sebald’s influential genre-straddlers with the inclusion of photos . . . The book is almost everywhere wonderfully readable, rich in the familiar Amis pleasures of wit, insight, and well-formed anecdotes . . . An intriguing, often brilliant addition to a storied career.” —Kirkus Reviews (starred review)

“Consistently intelligent and compulsively readable . . . Amis again proves himself to be as savvy a thinker as he is a writer as he applies his insight and curiosity as a novelist to this stylish and genuine account of his development as a writer. The result reaches the heights of his finest work.” —Publishers Weekly (starred review)

“One of the best qualities of the book is its regard for the reader . . . Inside Story contains wonderful considerations of what it is to be a writer, the importance of reading while writing, and writing while reading. It offers, in a way, what Amis’s parents gave him: an insight into the lives of writers . . . His love for literature is earnestly shared [and] a lifetime of scholarship is reflected in the quality of the writing.” —Sinead O’Shea, The Millions

Über den Autor und weitere Mitwirkende

MARTIN AMIS is the author of fourteen previous novels, the memoir Experience, two collections of stories, and seven nonfiction books. He lives in Brooklyn.

Produktinformation

Herausgeber ‏ : ‎ KNOPF (27. Oktober 2020)
Sprache ‏ : ‎ Englisch
Gebundene Ausgabe ‏ : ‎ 320 Seiten
ISBN-10 ‏ : ‎ 0593318293
ISBN-13 ‏ : ‎ 978-0593318294
Abmessungen ‏ : ‎ 16.41 x 3 x 24.23 cm

Amazon Bestseller-Rang: Nr. 1,074,130 in Bücher (Siehe Top 100 in Bücher)
- Nr. 1,762 in Schwarzer Humor
- Nr. 10,360 in Biografische Romane (Bücher)
- Nr. 17,606 in Humoristisch

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4,3 689 Sternebewertungen

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Martin Amis

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Martin Amis, geboren 1949 in Swansea, ist einer der bedeutendsten englischen Gegenwartsautoren. Er ist der Verfasser von vierzehn Romanen, sechs Sachbüchern und zwei Kurzgeschichtensammlungen. Für sein Romandebüt »Das Rachel-Tagebuch« (1973) erhielt er den Somerset Maugham Award, zu seinen bekanntesten Werken zählen weiterhin »Gierig« (1984), »London Fields« (1989) und »Pfeil der Zeit« (1991). Martin Amis lebt in New York.

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BHASKAR THAKURIA

Amis' singular tribute to the Hitch and his literary heroes....

Rezension aus Indien vom 26. Oktober 2020

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Probably the only thing that interposed as a significant detriment to the exhilaration that I experienced while reading this novel was the sad fact that Amis details in his characteristically lapidary but detailed prose in the closing chapters. The realisation that sunk upon me was enough in its moribund quiddity to impose a series of vacillations in my mind as to the state of the post-modern novel when Martin Amis would cease to write. And that he details very clearly that this was going to be his final full-length novel. The sensation never evaporated because this novel deals with love, death and sex in its most vivid and electrifying colours.

"........But next August I enter my seventieth year. ........You see, another full-length fiction, let alone another long fiction, now seems unlikely. Time will tell. Maybe towards the end I'll just shut up an read...........With every work of fiction, with every voyage of discovery, you're at some point, utterly becalmed (like Conrad on the Otago), and you drop overboard and sink through the fathoms until you reach the following dual certainty: that not only is the book you're writing no good, no good at all, but also that every line you've ever written is no good either, no good at all. Then, when you're deep down there, among the rocks and the shipwrecks and the blind and the brainless bottomfeeders, you touch sand, and start to gird yourself to kick back up again...........

Goodbye, my reader, I said. Goodbye, my dear, my close, my gentle."

This book cannot be classified into a single genre of fiction or non-fiction. It is an amalgamation of autobiography, biography, a treatise on writing skills and how to develop fiction, political history, and a little fiction, especially when he deals with the turbulent lifes and loves of his dear friend Christopher Hitchens, his father Kingsley, the great Russian emigre novelist and poet Vladimir Nabokov, the American novelist Saul Bellow, and the poet Philip Larkin- one of Martin's early and greatest literary heroes. It even goes on to detail, in small and patchy accounts, on the death and the last poems of the British WWI poet, Wilfred Owen. Martin Amis chooses also to take a wild detour here- unlike in his previous novels- and gives us readers a hindsight into the workings of the mind of the other Martin Amis- the essayist- as in his works of non-fiction like The War Against Cliche, Koba The Dread, The Second Plane. On a more serious note unlike his usual novelistic fare he decides to give us a tour of the 9/11 WTC calamity and its haunting aftermath, and the Islamic ideology that worked as the driving force behind it. With prose of gimlet-like precision we see here Martin Amis the journalist and the contemporary chronicler detailing all the hypotheses related to the confines of the Islamist state theory and the turbulent wars that raged underneath all the blasphemous politics that has riddled the middle east and Israel for the past half a century. In this respect, one can call the work as non-fiction for most parts of it but in the hands of Amis it turns out to be something more than both fiction and non-fiction. Here we see the unconventional chronicler bearing down with his hatchet-like verbal outpourings and breaking new barriers in the development of the modern novel- a brilliant concoction of all the tenets of writing that Martin chooses to reveal to us readers in grand detail in several sections of this book.

Death seems to be the predominant aspect of this work; and sex as well. Indeed this novel had its genesis in the death of Christopher Hitchens and this is the flavour that permeates throughout this work- of quietus and utter oblivion.

Here is what Amis has to say while recounting the advent of Larkin's death:

"Together with its almost sinister memorability, and its unique combination of the lapidary and the colloquial, the key distinction of Larkin's corpus is its humour: he is by many magnitudes the funniest poet in English (and I include all exponents of light verse). Nor, needless to say, is his comedy just a pleasant additive; it is foundational.....Was he helped in this- was he somehow 'swayed on'- by living a hollow life, 'a farce', 'absurd', and 'stuffed full of nothing'? Well, not nothing; his life was stuffed full of the kind of repetitive indignities that make us say, If you didn't laugh, you'd cry. Yes, and if you didn't cry, you'd laugh. This is the axis on which the poems rotate. His indignities were his daffodils."

As on the death of Saul Bellow, he writes:

"Saul's last day on earth..............
That morning Saul woke up believing he was in transit- on a ship, perhaps? .....Saul wanted nothing to eat or drink (he was perhaps observing the traditional fast of the moribund- abstinence, with a garnish of penitence). Then he went back to sleep, or rejoined the light coma which, in his final weeks, patiently shadowed him. Time passed. His breathing became slow and effortful. Rosamund had an hour alone with him, and when the others came back into the room she was stroking his head, and she was talking to him, saying, 'It's okay, my baby, it's okay.' Saul opened his eyes and gazed at her in awe, a gaze from the heart, an ardent gaze; and then he died.
....When the last day began Saul thought he was at sea on a transatlantic voyage. That was a venture, that was a crossing, of about the right size- the mighty waters, the great deeps, the unknowable doldrums and tormentas."

As well as the death of Christopher Hitchens:

"......There it lurks before me, under the angle lamp, Mortality- droll, steadfast, and desperately and startingly short. Usually I pick it up and put it down with the greatest care, to avoid seeing the photo that fills the back cover; but sometimes, as now, I make myself flip it over and I stare. We never talked about death, he and I, we never talked about the probably imminent death of the Hitch. But one glance at this portrait convinces me that he exhaustively discussed it- with himself. Those are the eyes of a man in hourly communion with the distinguished thing; they hold a great concentration of grief and waste, but they are clear, the pupils blue, the whites white. Christopher, long before the fact, mounted his own death watch. ........."

Once again the dark undercurrents of life are laid bare in all its ineludible pathos, and death plays a major part of it in this work of art- at once embellished and lucid. And it is in these episodes of death that we get to see Amis at his most striking and humane. Indeed this is one of his most sympathetic works to date and one of the best I have read this year.

"It is right, it is fitting, it is as it should be, that we die. 'Death is the dark backing a mirror needs before we can see anything,' wrote Saul Bellow. And without death there is no art, because without death there is no interest, or to be more precise there is no fascination......"

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William E. Johnston Jr.

A remarkable meditation on death

Rezension aus den Vereinigten Staaten vom 17. Juli 2023

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I'm reading this stunning "memoir/novel" after Martin Amis's death so that may color my view of the book. But it seems in every way a meditation on death -- of Amis's dad, of Philip Larkin, of Christopher Hitchens, and his own impending removal from the scene. The grim reaper's presence, however self-aware and forthright Amis may be, seems to have made no connection in his mind between smoking and exiting stage right for good. Even with esophageal cancer on the death certificates of Larkin and Hitchens, Amis kept rolling his own smokes. His readers have to be depressed and yet grateful that he was able to keep scribbling out these brilliant pages through the clouds of smoke almost to the end.

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Midshipman

Moving but self-important

Rezension aus dem Vereinigten Königreich vom 6. Juli 2023

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A mostly entertaining yet curious mix of fact, fiction, memoir and biography. Amis writes movingly - as pretty much everyone has said - about his friend Christopher Hitchens (and about Philip Larkin). But Amis always sounds so desperate to be considered a literary figure that much of the prose sounds forced and overly self-conscious. Private Eye always insisted Amis was a bit of a smartpants and this book reveals why.

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Graham G Grant

Lucky Mart: retrospective of a life writer

Rezension aus dem Vereinigten Königreich vom 8. Oktober 2020

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Interweaving the fictional and the semi-fictional with real life, this is an ‘autobiographical novel’. At times you might wonder, as I did, why it wasn’t written simply as a memoir. But Amis has written one already - Experience - which was excellent. In Inside Story, he suggests this is the last long novel he’ll write. There are certainly elements of the novel in it. One of the female characters, who becomes Amis’s lover, is - by his account - made-up. But it seems closely related to a real-life figure from his past (who recently accused him of basing the character on her). Details of Amis’s friendship with the late Christopher Hitchens are - we assume - real. So is much of the information about Martin’s father, Kingsley, and poet Philip Larkin, Kingsley’s close friend and correspondent - and Martin’s godfather. Really this book is a kind of retrospective, at times playful and postmodern, at times very moving and serious. Its chief topics are: Hitchens, Kingsley, Larkin, and novelist Saul Bellow - the key influences in Amis’s life. The section about 9/11 is memorable, and haunting, but the whole book, which also contains passages offering advice on writing fiction, is beautifully written - despite the trademark Amis habit of dropping in long, rarely used words and then giving their Latin derivation. Amis sees himself as a life writer - writing not in a genre but drawing inspiration from social realism - the substance of real life. Some of the material has been used, though not necessarily verbatim, in previous work, eg (the very good) non-fiction collection The Rub of Time. Maybe Inside Story is best understood as the equivalent of The Trip, the comedy series starring Steve Coogan and Rob Brydon touring restaurants in Spain, Italy, Greece, and the UK. It’s lightly fictionalised - they play themselves, but there’s the odd bit of fiction thrown in. There’s not much variation - you know for certain they’ll both be doing Michael Caine impressions, for example - but somehow it all works, because you want to share their preoccupations. Inside Story, which feels like a swan-song (hopefully not), is similar. For Amis fans, very little is new or surprising, but again somehow it works. In particular, many of his reflections about Hitchens were new to me. For those who haven’t read Amis before, probably best to start with Money, or The Rachel Papers. This is a book that should probably be read once you have a few Amis titles under your belt. But it is a tour de force. Amis recommends dipping into it rather than reading it in one go - and the fragmentary style lends itself to this approach. I didn’t take his advice - but still loved it.

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jw

What’s Missing?

Rezension aus dem Vereinigten Königreich vom 29. Dezember 2020

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Two moments in this book made me really wonder about the depth of Martin Amis’s thought, both are about the death of his life long, best friend Christopher Hitchens. The first at the death watch, lasting the final 7 hours before Christopher passed away, when Martin is there with the family. The moment the monitor flatlines and Christopher has taken his last breath his wife known as Blue gets up and says “ OK, that’s it - let’s get out of here - that (pointing her newly deceased husband) is rubbish now” and they all leave for the airport. I almost gasped when I read that but Amis reports it without any feeling at all. I imagined if Christopher hadn’t actually died and could hear what his wife said the moment she thought he had, that would have been the worst moment of his life. Where is love, tenderness, loss, grief - certainly not around in the moments after Christopher died. It made me feel very sorry for Christopher Hitchins - much admired but unloved.
Then it gets worse - a few days after he dies his widow and his best friend meet for a meal and they both reveal that a few days after he’d died they had this inexplicable sense of great happiness! They also admit they feel a bit guilty about it and they ask if Christopher would be upset to think of them being so happy in the days after his death , but they think not, they share the great insight that Christopher would be glad to see them so happy and then they share the even greater insight that what has happened is that Christopher’s own great passion for life has somehow been gifted to them from him in his afterlife. No need to labour the point but the more plausible conclusions for their happiness are that his wife did not love him and his immensely powerful presence in her life was a burden she was happily liberated from. You might feel this conclusion is substantiated by her comment about his still warm body being rubbish the moment he stopped breathing. As for why Amis is so happy within a week of the death of his best friend, maybe he too felt great relief that his arch rival would no longer be there belittling him. How else do we account for his constant reference to Martin as “ Little Keith”? Clearly Hitchens was top dog and Amis - well - Little Keith.
So this is a sad book.
With his glorious vocabulary derived from his well worn thesaurus there is more sadness because Amis clearly does not understand that his showing off is plain to see and nobody wants to read an endless stream of words they have to look up. Perhaps he is doing to us what Hitchens did to him, making us feel small, lesser beings.
It’s also an interesting book and a helpful one in that it shows us what a mistake it is to look up to those who are famous and rich because they are famous and rich. We all have limitations, failures to understand and weaknesses and from this book we know that so do they. It’s worth reading for that alone but it’s not great in any way. If you want great, read Middlemarch or Pride and Prejudice.

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