The Elegant Variation: IS THERE ANYONE OUT THERE ...

« WEEKEND READ | Main | LITERARY DRUNKS »

February 22, 2010

IS THERE ANYONE OUT THERE ...

... who really believes Martin Amis doesn't totally get off on this nonsense?

Rarely one to turn the other cheek, the novelist Martin Amis – who was the subject of an open letter from Anna Ford in Saturday's Guardian accusing him of narcissism, neglect of his godfatherly duties and smoking over her late husband's deathbed – has counter attacked, calling the former newsreader's outburst "ungenerous and self-defeating".

One can only hope his publicity staff is issuing checks left, right and center ...

Posted at 07:55 PM in Words Fail | Permalink

Comments

On the other hand, Anna Ford has clearly spent twenty-two years nursing a personal grudge and has chosen to air that grudge in the silliest, most random and most undignified manner possible. If I didn't know better, I'd think she was a media invention designed to make Marty look good.

His response says all that needs to be said, I think. Though I do hope there isn't a third salvo coming.

Posted by: (The Other) Niall | February 23, 2010 at 04:02 AM

Isn't it marvelous that, at least in the UK, a living writer's life can generate controversy? I can't imagine a living American writer who could generate this kind of public interest.

Posted by: Niall | February 23, 2010 at 07:25 AM

Oh, any living American writer could generate controversy -- all that's required is some combination of sex and Oprah.

Posted by: peep | February 23, 2010 at 08:34 AM

When great authors say stupid things - and they do so all the time - the story belongs to the province of literature and is thus ignored. It is Amis's misfortune to have gone from being thought great to having his work widely ridiculed and scorned. He has thus acquired the irresistible allure of public failure. The story's not about literature (any more than the Tiger Woods story is about golf); that's why it makes news. What's so marvelous about that?

Posted by: davmul | February 23, 2010 at 09:12 AM

What strikes me is that events from 20 years ago, which involve not an ounce of sex, adultery or drugs, can generate so much attention in the UK. Their bar for scandal seems set very low.

Posted by: Niall | February 23, 2010 at 10:14 AM

lol I have to agree with the comment above mine. It sets a high standard of scandal imo.

Posted by: Princess Haiku | February 23, 2010 at 09:15 PM

Davmul, do you think many thoughtful critics scorn and ridicule his work? I haven't read the reviews of The Pregant Widow yet, because I want to read it myself first, but in general I was under the impression that, Tibor Fischer apart, Amis' reputation as a writer was intact.

Also, this isn't really a scandal, it's fascinating to the public, or rather that unusual subset of the public which reads the Guardian, because Ms Ford (who's really famous over here) is obviously still in great pain about the loss of her husband. I thought Amis semi-apology/mild rebuttal was about as good as it could have been in the circumstances, but Hitchen's intervention today was rhetorically overblown and unforgiveably crass, and no way to treat the widow of a friend.

Posted by: Tim | February 24, 2010 at 06:06 AM

I haven't read the Pregnant Widow, but I did notice a glowing review the other week in the Economist that focuses solely on the fiction, rather than the author's many outbursts:

"This is a fine and hilarious book, Martin Amis’s best since 'Money'....Notwithstanding the immoderate animus directed towards him at the time of the substandard 'Yellow Dog', Mr Amis has always been a stimulating writer, and someone who gives a distinctive colouring to certain times in our lives. 'The Pregnant Widow' is Amis at his absolute and unique best."

Posted by: Michael O'D | February 24, 2010 at 07:18 AM

"I was under the impression that, Tibor Fischer apart, Amis' reputation as a writer was intact."

Well, opinion about his books has always been divided. Some people could never get on with them, and said so. But opinion about his personality, or about him as a literary figure, has always been strongly negative. When his personal life blew up in 1995 (the divorce, the teeth, etc.) the free-floating hostility to him that had always been there found a new focus. People - by which I mean Fleet Street - were delighted he'd fallen from his pedestal. More damagingly, they started reviewing his books through the window of his public persona, as though the novels were autobiography.

Amis is a tool at times, for sure, and his views on Islam, population control and the war on terror have made him a useful idiot to the interventionist right. But he very definitely has been mistreated in the British press.

In 95, for instance, The Sunday Times published a first-hand account of Kingsley Amis's funeral, written by Eric Jacobs. According to this account, Martin spoke slightingly of his father and the only person who cried was his 'alcoholic sister' Sally. This would be mean enough, if true, but Eric Jacobs wasn't even at the funeral to write this first-hand account. This strikes me as indecent behaviour towards Amis (or anyone), and it's not an isolated incident.

Posted by: (The Other) Niall | February 25, 2010 at 03:54 AM

Didn't it start earlier? I remember his being savaged in the British press for getting loads of dental work done in the US in the late 80s. How typically, and weirdly, British.

I think the last of his books to get any real attention in the US was "London Fields", and that was a while ago.

Posted by: Niall | February 25, 2010 at 06:59 AM

Niall -

The teeth was 1995. The rumour was that he'd negotiated a stellar advance (GB£500,000) for The Information in part to pay for a Liberace smile. Whereas the truth was that he had tumours in his jawline: tooth and bone had to come out to get rid of them. And yet you'll still find the Liberace smile thing cited as fact in the press. The way it works is: Martin Amis is pompous and vain, therefore he must have pompously demanded a huge advance to shore up his vanity. QED.

This would be funny (it would be one of the funnier set-pieces in one of his books) if it were an isolated incident. But when he complains about his treatment in the press, he does have a point.

Posted by: (The Other) Niall | February 25, 2010 at 08:02 AM

Yes, you're absolutely right timewise. And picking on dental work just reinforces every US belief about British teeth. Makes it seem as though in the UK dentistry is some kind of aristocratic pretension.

Don't you think the UK press is just more combative in general with its subjects than in the US? I kind of admire that. Here there is so much fear of offending a writer, and writers have become so used to that that they go batshit crazy when they encounter even minimally harsh criticism.

Posted by: Niall | February 25, 2010 at 10:25 AM

I've often wondered how the British press would deal with a native Mailer, or even a native Richard Ford. Imagine how Amis would be treated if he was in the habit of physically spitting at critics or offering them out for a fight. Perhaps better than he currently is.

Posted by: (The Other) Niall | February 26, 2010 at 02:15 AM

Oh, but that's a bygone generation. Now writers who get even mildly criticial reviews go crazy on Twitter, publish the reviewer's private phone number, and encourage people to harrass her.

Dale Peck ran into the same spoiled entitlement when he dared to publish a few scathing reviews at the beginning of the last decade (of Rick Moody in particular). He was pretty much hounded into silence for his impertinence.

Posted by: Niall | February 26, 2010 at 08:25 AM

The comments to this entry are closed.

MY NOVEL

HARRY, REVISED - Get all the details here.

TOUR DATES

WORTHY READINGS

TEV DEFINED

The Elegant Variation is "Fowler’s (1926, 1965) term for the inept writer’s overstrained efforts at freshness or vividness of expression. Prose guilty of elegant variation calls attention to itself and doesn’t permit its ideas to seem naturally clear. It typically seeks fancy new words for familiar things, and it scrambles for synonyms in order to avoid at all costs repeating a word, even though repetition might be the natural, normal thing to do: The audience had a certain bovine placidity, instead of The audience was as placid as cows. Elegant variation is often the rock, and a stereotype, a cliché, or a tired metaphor the hard place between which inexperienced or foolish writers come to grief. The familiar middle ground in treating these homely topics is almost always the safest. In untrained or unrestrained hands, a thesaurus can be dangerous."

Nobility of Spirit: A Forgotten Ideal by Rob Riemen

This slim volume by the president and founder of the Nexus Institute, a European-based humanist think-tank, stands as the most stirring redoubt against the ascendant forces of know-nothingness that we've come across in a long time. A full-throated, unapologetic defense of the virtues of Western Civ – in which "elite" is not and never should be a dirty word – this inspiring exploration of high art and high ideals is divided into three sections: The first looks at the life of Riemen's great hero Thomas Mann as a model for the examined life. The second imagines a series of conversations from turning points in European intellectual history, populated with the likes of Socrates, Nietzsche and others. The final section, "Be Brave," is nothing less than an exhortation to dig deep, especially in times of risk. The notion of nobility of the spirit might strike some modern ears as quaint but it seems more desperately necessary than ever before, and there are worse ways to read the accessible Nobility of Spirit than as a crash refresher in the Great Thinkers, free of academic jargon and cant. As a meditation on what is at stake when the pursuit of high ideals is elbowed aside by the pursuit of fleeting material gain, however, Nobility of Spirit might well be the most prescient book we've yet read on what's at stake in the current election cycle and in the developing global situation. Agree or disagree with Riemen's profound, ambitious and high-minded plea, you will be thinking about his words for a long time. It's been ages since a work of non-fiction moved us this way. Read it. Discuss it. Argue about it.
Netherland by Joseph O'Neill

With rave reviews from James Wood, Michiko Kakutani and Dwight Garner, it might not seem like we need to tell you to drop everything and go read Netherland, but we are telling you, and here's why: The way book coverage works these days, everyone talks about the same book for about two or three weeks, and then they move on and the book is more or less forgotten. Whereas a berth here in the Recommended sidebar keeps noteworthy titles in view for a good, long time, which is the sort of sustained attention this marvelous novel deserves. A Gatsby-like meditation on exclusion and otherness, it's an unforgettable New York story in which the post 9/11 lives of Hans, a Dutch banker estranged from his English wife, and Chuck Ramkissoon, a mysterious cricket entrepreneur, intertwine. The New York City of the immigrant margins is unforgettably invoked in gorgeous, precise prose, and the novel's luminous conclusion is a radiant beacon illuminating one of our essential questions, the question of belonging. Our strongest possible recommendation.
Dictation: A Quartet by Cynthia Ozick

"History," wrote Henry James in a 1910 letter to his amanuensis Theodora Bosanquet, "is strangely written." This casual aside could easily serve as the epigraph of Cynthia Ozick's superb new collection Dictation, which concerns itself with lost worlds evoked by languages -- languages which separate and obscure as readily as they bind. It can be risky to look for connective tissue between stories written years apart and published in magazines ranging from The Conradian to The New Yorker. But themes of deception, posterity, and above all, the glory of language -- at once malleable and intractable -- knit together this quartet, recasting the whole as the harmonious product of Ozick's formidable talent. Read the entire review here
Diary of a Bad Year by J. M. Coetzee

Now, on the one hand, you scarcely need us to alert you to the existence of a new J.M. Coetzee novel, or even to have us tell you it's worth reading. But we can tell you - we insist on telling you that Diary of a Bad Year is a triumph, easily Coetzee's most affecting and fully wrought work since Disgrace. Formally inventive, the book intertwines two narratives with the author's own Strong Opinions, a series of seemingly discrete philosophical and political essays. The cumulative effect of this strange trio is deeply moving and thought provoking. It's increasingly rare in this thoroughly post-post-modern age to raise the kind of questions in fiction Coetzee handles so masterfully - right down to what is it, exactly, that we expect (or need) from our novels. It's telling that, for all of his serious pronouncements on subjects ranging from censorship to pedophilia to the use of torture, it's finally a few pages from The Brothers Karamazov that brings him to tears. Moving, wise and - how's this for a surprise - funny and lightly self-mocking, Diary of a Bad Year might well be the book of the year and Coetzee is surely our essential novelist. We haven't stopped thinking about it since we set it down.
The Indian Clerk by David Leavitt

David Leavitt's magnificent new novel tells the story of the unlikely friendship between the British mathematician G.H. Hardy and Srinivasa Ramanujan, mathematical autodidact and prodigy who had been working as a clerk in Madras, and who would turn out to be one of the great mathematical minds of the century. Ramanujan reluctantly joined Hardy in England - a move that would ultimately prove to his detriment - and the men set to work on proving the Riemann Hypothesis, one of mathematics' great unsolved problems. The Indian Clerk, an epic and elegant work which spans continents and decades, encompasses a World War, and boasts a cast of characters that includes Bertrand Russell, Ludwig Wittgenstein and Lytton Strachey. Leavitt renders the complex mathematics in a manner that resonates emotionally as well as intellectually, and writes with crystalline elegance. The metaphor of the prime number – divisible only by one and itself – is beautifully apt for this tale of these two isolated geniuses. Leavitt's control of this dense, sprawling material is impressive – astonishing, at times – and yet despite its scope, he keeps us focused on his great themes of unknowability and identity. The Indian Clerk might be set in the past but it doesn't resemble most so-called "historical fiction." Rather, it's an ageless meditation on the quests for knowledge and for the self – and how frequently the two are intertwined – that is, finally, as timeless as the music of the primes. (View our full week of coverage here.)
Then We Came to the End by Joshua Ferris

Joshua Ferris' warm and funny debut novel is an antidote to the sneering likes of The Office and Max Barry's Company. Treating his characters with both affection and respect, Ferris takes us into a Chicago ad agency at the onset of the dot-bomb. Careers are in jeopardy, nerves are frayed and petty turf wars are fought. But there are bigger stakes in the balance, and Ferris' weirdly indeterminate point of view that's mostly first person plural, underscores the shared humanity of everyone who has ever had to sit behind a desk. It's a luminous, affecting debut and you can read the first chapter right here.
Christine Falls by Benjamin Black

Coming to these shores at last, John Banville's thriller, written under the nom de plume Benjamin Black, has drawn rave reviews across the pond since it first appeared last October. Those who feared Banville might turn in an overly literary effort needn't worry. Influenced by Simenon's romans durs (hard stories), Banville unspools a dark mystery set in 1950s Dublin concerning itself with, among other things, the church's trade in orphans. At the heart of the book is the coroner Quirke, a Banvillean creation on par with Alex Cleave and Freddie Montgomery. Dublin is rendered with a damp, creaky specificity – you can almost taste the whisky.
The Paris Review Interviews, I by The Paris Review and Philip Gourevitch

Scanning our Recommended selections, one might conclude we're addicted to interviews, and one would be correct. If author interviews are like crack to us, then the Paris Review author interviews must surely be the gold standard of crack (a comparison Plimpton might not have embraced). The newly issued The Paris Review Interviews, Volume I (Picador) rolls out the heavy hitters. Who can possibly turn away from the likes of Saul Bellow, T.S. Eliot, Ernest Hemingway, Jorge Luis Borges, Dorothy Parker, Robert Gottlieb and others? The interviews are formal and thoughtful but never dry and can replace any dozen "how-to" books on writing. What can be more comforting than hearing Bellow, answering a question on preparations and conception, admit "Well, I don't know exactly how it's done.” The best part of this collection? The "Volume I" in the title, with its promise of more volumes to come.
The Dead Fish Museum: Stories by Charles D'Ambrosio

The best short story collection we've read since ... well, certainly since we've started this blog. And we might even say "ever" if Dubliners didn't cast such a long shadow. The short story is not our preferred form but D'Ambrosio's eight brilliant stories are almost enough to convert us. Defy the conventional wisdom that short story collections don't sell and treat yourself to this marvel. (We're especially partial, naturally, to "Screenwriter".)
The Mystery Guest by Grégoire Bouillier
*Now in Paperback*

What would you do if the woman who’d left you high and dry ten years ago called out of the blue to invite you to a party without any further explanation? If you’re French, you’d probably spend a lot of time pondering the Deeper Significance Of It All, which is exactly what Grégoire Bouillier does for the 120 hilarious pages of The Mystery Guest. This slim, witty memoir follows Bouillier through the party from hell, and is a case study in Gallic self-abasement. Before it’s all done, you’ll set fire to any turtleneck hanging in your closet and think twice before buying an expensive Bordeaux as a gift. But fear not – just when it seems that all is, indeed, random and pointless and there is no Deeper Significance, salvation arrives in the unlikely form of Virginia Woolf, and the tale ends on a note of unforced optimism. Parfait.
Ticknor by Sheila Heti

When George Ticknor's Life of William Hickling Prescott was published in 1864, it received rapturous notices, and reviewers were quick to point out that the long-standing friendship between Prescott and Ticknor made the latter an ideal Boswell. Sheila Heti has pulled this obscure leaf from the literary archives and fashioned a mordantly funny anti-history; a pungent and hilarious study of bitterness and promise unfulfilled. As a fretful Ticknor navigates his way through the rain-soaked streets of Boston to Prescott's house ("But I am not a late man. I hate to be late."), he recalls his decidedly one-sided lifelong friendship with his great subject. Unlike the real-life Ticknor, this one is an embittered also-ran, full of plans and intentions never realized, always alive to the fashionable whispers behind his back. Heti seamlessly inhabits Ticknor's fussy 19th-century diction with a feat of virtuoso ventriloquism that puts one in mind of The Remains of the Day. Heti's Ticknor would be insufferable if he weren't so funny, and in the end, the black humor brings a leavening poignancy to this brief tale. But don't let the size fool you — this 109-page first novel is small but scarcely slight; it is as dense and textured as a truffle.
The Believer Book of Writers Talking to Writers by Vendela Vida

No, your eyes aren't deceiving you and yes, we are recommending a Believer product. Twenty-three interviews (a third presented for the first time) pairing the likes of Zadie Smith with Ian McEwan, Jonathan Lethem with Paul Auster, Edward P. Jones and ZZ Packer, and Adam Thirwell with Tom Stoppard make this collection a must-read. Lifted out of the context of some of the magazine's worst twee excesses, the interviews stand admirably on their own as largely thoughtful dialogues on craft. A handful of interviewers seem more interested in themselves than in their subjects but in the main this collection will prove irresistible to writers of any stripe - struggling or established - and to readers seeking a window into the creative process.
The Sea by John Banville

John Banville's latest novel returns him to the Booker Prize shortlist for the first time since 1989's The Book of Evidence. In The Sea, we find Banville in transition, moving from the icy, restrained narrators of The Untouchable, Eclipse and Shroud toward warmer climes. Max Morden has returned to the vacation spot of his youth as he grieves the death of his wife. Remembering his first, fatal love, Morden works to reconcile himself to his loss. Banville's trademark linguistic virtuosity is everpresent but some of the chilly control is relinquished and Max mourns and rages in ways that mark a new direction for Banville - and there's at least one great twist which you'll never see coming. Given the politicized nature of the British literary scene, Banville's shot at the prize might be hobbled by his controversial McEwan review but we're rooting for our longtime favorite to go all the way at last. UPDATE: Our man won!
Here Is Where We Meet by John Berger

We've been fans of Booker Prize winner John Berger for ages, and we're delighted to have received an early copy of his latest work, Here is Where We Meet. In this lovely, elliptical, melancholy "fictional memoir," Berger traverses European cities from Libson to Geneva to Islington, conversing with shades from his past – He encounters his dead mother on a Lisbon tram, a beloved mentor in a Krakow market. Along the way, we're treated to marvelous and occasionally heart-rending glimpses of an extraordinary life, a lyrical elegy to the 20th century from a man who - in his eighth decade - remains committed to his political beliefs and almost childlike in his openness to people, places and experiences. There's no conventional narrative here, and those seeking plot are advised to look elsewhere. But Here is Where We Meet offers a wise, moving and poetic look at the life of an artist traversing the European century from a novelist whose talent remains undimmed in his twilight years.
Home Land by Sam Lipsyte

In his recent TEV guest review of Home Land, Jim Ruland called Sam Lipsyte the "funniest writer of his generation," and we're quite inclined to agree. We tore through Home Land in two joyful sittings and can't remember the last time we've laughed so hard. Lipsyte's constellation of oddly sympathetic losers is rendered with a sparkling, inspired prose style that's sent us off in search of all his prior work. In Lewis Miner's (a.k.a Teabag) woeful epistolary dispatches to his high school alumni newsletter ("I did not pan out."), we find an anti-hero for the age. Highly, highly recommended.

THIS GUN FOR HIRE:
Reviews & Criticism

SECOND LOOK

The Bookshop by Penelope Fitzgerald

Penelope Fitzgerald's second novel is the tale of Florence Green, a widow who seeks, in the late 1950s, to bring a bookstore to an isolated British town, encountering all manner of obstacles, including incompetent builders, vindictive gentry, small minded bankers, an irritable poltergeist, but, above all, a town that might not, in fact, want a bookshop. Fitzgerald's prose is spare but evocative – there's no wasted effort and her work reminds one of Hemingway's dictum that every word should fight for its right to be on the page. Florence is an engaging creation, stubbornly committed to her plan even as uncertainty regarding the wisdom of the enterprise gnaws at her. But The Bookshop concerns itself, finally, with the astonishing vindictiveness of which provincials are capable, and, as so much English fiction must, it grapples with the inevitabilities of class. It's a dense marvel at 123 pages, a book you won't want to – or be able to – rush through.
The Rider by Tim Krabbe

Tim Krabbé's superb 1978 memoir-cum-novel is the single best book we've read about cycling, a book that will come closer to bringing you inside a grueling road race than anything else out there. A kilometer-by-kilometer look at just what is required to endure some of the most grueling terrain in the world, Krabbé explains the tactics, the choices and – above all – the grinding, endless, excruciating pain that every cyclist faces and makes it heart-pounding rather than expository or tedious. No writer has better captured both the agony and the determination to ride through the agony. He's an elegant stylist (ably served by Sam Garrett's fine translation) and The Rider manages to be that rarest hybrid – an authentic, accurate book about cycling that's a pleasure to read. "Non-racers," he writes. "The emptiness of those lives shocks me."

The Elegant Variation

A Literary Weblog.
A Guardian Top 10 Literary Blog * A Forbes "Best of the Web" Pick * A Los Angeles Magazine Top Los Angeles Blog
"Really brave ... or really stupid" - NPR

February 22, 2010

IS THERE ANYONE OUT THERE ...

Comments

MY NOVEL

WORTHY READINGS

TEV DEFINED

RECOMMENDED

THIS GUN FOR HIRE:
Reviews & Criticism

SECOND LOOK

Categories

The Elegant Variation

A Literary Weblog. A Guardian Top 10 Literary Blog * A Forbes "Best of the Web" Pick * A Los Angeles Magazine Top Los Angeles Blog "Really brave ... or really stupid" - NPR

February 22, 2010

IS THERE ANYONE OUT THERE ...

Comments

MY NOVEL

WORTHY READINGS

TEV DEFINED

RECOMMENDED

THIS GUN FOR HIRE: Reviews & Criticism

SECOND LOOK

Categories

A Literary Weblog.
A Guardian Top 10 Literary Blog * A Forbes "Best of the Web" Pick * A Los Angeles Magazine Top Los Angeles Blog
"Really brave ... or really stupid" - NPR

THIS GUN FOR HIRE:
Reviews & Criticism