Martin Amis: Postmodernism and Beyond by Gavin Keulks

By Gavin Keulks

This is often the 1st number of unique essays ever released on Martin Amis, one in all England's such a lot debatable and significantly acclaimed authors. Impressively overseas in scope, it assembles the guidelines of twelve students from six diverse nations to elucidate the most important developments and transitions in Amis's paintings. In essays that hide each one of his novels in addition to formerly neglected non-fiction essays, it's going to turn into an authoritative source for students, scholars and fanatics of Amis's paintings generally.

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Extra resources for Martin Amis: Postmodernism and Beyond

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But like Narcissus, he cannot see his face except in a mirror. Writing of The Information two decades later, Adam Mars-Jones perceptively observed that one of Amis’s stylistic skills is “to separate verbal beauty from the cause it has traditionally served, to detach lyrical language from the lyrical impulse” (19). Customarily taboo subjects are thus retrieved from the censor’s red pencil. ” Charles’s frequent contemplation of his own image accentuates the narcissism and self-reflectiveness that his major assets – his face and above all his eyes – bring about.

Self muses: “A writer lives round my way in London. He looks at me oddly in the street. He gives me the fucking creeps” (42). com - licensed to Universitetsbiblioteket i Tromsoe - PalgraveConnect - 2011-03-08 Selina had soldiered it out with me? For my pot belly, my bad rug, my personality? She’s not in this for her health, now, is she? … I tell you, these reflections really cheered me up. (28) whom he coerces into rewriting the script of Money, and in New York he is pursued by Martina Twain, who introduces the uncultured Self to such works as Animal Farm and Nineteen Eighty-Four and takes him to see Verdi’s Otello.

But fear really scares me. (4) In this hypertrophied allegory, the narrative creates a second-order reality of its own, so that the tautological phrase “fear really scares me” seems to make sense. It also reattaches the allegorical diversion to the primary reality of the novel. The doubling or “folding back” performed in this tautological phrase is repeated in the phrase “just unjust,” a juxtaposition which creates excess or surplus meaning from difference. The circular structure of this passage recalls the structure of double disavowal that Slavoj Zˇizˇek identifies in commodity fetishism.

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