Martin Amis: Trending quotes

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Martin Amis: 272 quotes2 likes

“We accept that there are legitimate casus belli: acts or situations "provoking or justifying war". The present debate feels off-centre, and faintly unreal, because the US and the UK are going to war for a new set of reasons (partly undisclosed) while continuing to adduce the old set of reasons (which in this case do not cohere or even overlap).”

Martin Amis

"The Palace of the End" (2003)

“Probably all writers are at some point briefly under the impression that they are in the forefront of disintegration and chaos, that they are among the first to live and work after things fall apart. The continuity such an impression ignores is a literary continuity.”

Martin Amis

"Joan Didion" (1980)
The Moronic Inferno and Other Visits to America (1986)

“Never content just to be, America is also obliged to mean; America signifies, hence its constant and riveting vulnerability to illusion.”

Martin Amis

"Phantom of the Opera: The Republicans in 1988" (1988)
Visiting Mrs. Nabokov and Other Excursions (1993)

“As elsewhere in his writing, Vidal gives the impression of believing that the entire heterosexual edifice - registry offices, Romeo and Juliet, the disposable diaper - is just a sorry story of self-hypnosis and mass hysteria: a hoax, a racket, or sheer propaganda.”

Martin Amis

Review of Palimpsest, p. 281
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

“When you review an exhibition of paintings you don't compose a painting about it, when you review a film you don't make a film about it and when you review a new CD you don't make a little CD about it. But when you review a prose-narrative then you write a prose-narrative about that prose-narrative and those who write the secondary prose-narrative, let's face it, must have once had dreams of writing the primary prose-narrative. And so there is a kind of hierarchy of envy and all those other things.”

Martin Amis

Interview with Ramona Koval on Radio National (4 September 1999) http://www.abc.net.au/rn/arts/bwriting/stories/s21638.htm

“Vidal is determined to be a) in the thick of things, and b) above the fray. He knows everybody and he doesn't want to know anybody. He has had lovers by the thousand while doing 'nothing”

Martin Amis

deliberately, at least — to please the other.
Review of Palimpsest by Gore Vidal, p. 279
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

“Bujak spoke of Einstein as if he were God's literary critic, God being a poet. I, more stolidly, tend to suspect that God is a novelist — a garrulous and deeply unwholesome one too.”

Martin Amis book Einstein's Monsters

"Bujak and the Strong Force"
Einstein's Monsters (1987)

“She was sitting there beside the bookcase, trying to read, in a growing panic of self-consciousness. Why? Because reading presupposed a future.”

Martin Amis book London Fields

London Fields (1989)

“The champions of militant Islam are, of course, misogynists, woman-haters; they are also misologists — haters of reason. Their armed doctrine is little more than a chaotic penal code underscored by impotent dreams of genocide. And, like all religions, it is a massive agglutination of stock response, of cliches, of inherited and unexamined formulations.”

Martin Amis

"The voice of the lonely crowd" (2002)

“A week after the attack, one is free to taste the bile of its atrocious ingenuity. It is already trite — but stringently necessary — to emphasise that such a mise en scène would have embarrassed a studio executive's storyboard or a thriller-writer's notebook ("What happened today was not credible," were the wooden words of Tom Clancy, the author of The Sum of All Fears). And yet in broad daylight and full consciousness that outline became established reality: a score or so of Stanley knives produced two million tons of rubble.”

Martin Amis

"Fear and loathing" (2001)

“One wonders how the literary revisionists and canon cleansers can bear to take the money. Imagine a school of sixteenth century art criticism that spent its time contently jeering at the past for not knowing about perspective.”

Martin Amis

"Political Correctness: Robert Bly and Philip Larkin" (1997)

“Not greatly gifted, not deeply beautiful, Madonna tells America that fame comes from wanting it badly enough. And everyone is terribly good at badly wanting things.”

Martin Amis

"Madonna" (1992)
Visiting Mrs. Nabokov and Other Excursions (1993)

“The doltish euphemism of conglomerate America.”

Martin Amis

"Hugh Hefner" (1985)
The Moronic Inferno and Other Visits to America (1986)

“The true manipulator never has a reputation for manipulating.”

Martin Amis

"Claus von Bülow" (1983)
The Moronic Inferno and Other Visits to America (1986)

“The trouble with life (the novelist will feel) is its amorphousness, its ridiculous fluidity. Look at it: thinly plotted, largely themeless, sentimental and ineluctably trite. The dialogue is poor, or at least violently uneven. The twists are either predictable or sensationalist. And it's always the same beginning; and the same ending …”

Martin Amis book Experience

Introduction
Experience (2000)

“As it turns out, Mailer comes close to solving the mystery [of Lee Harvey Oswald], but he never establishes the tragedy. Dreiser's tale was tragic and American because it happened every day. Oswald made only one notch in the calendar. It was meaningless; he just renamed an airport, violently.
…Oswald's life was not a cry of pain so much as a squawk for attention. He achieved geopolitical significance by the shortest possible route. He was not an example of post-modern absurdity but one of its messiahs: an inspiration to the glazed loner. He killed Kennedy not to impress Jodie Foster. He killed Kennedy to impress Clio - the muse of history.”

Martin Amis

Review of Oswald's Tale: An American Mystery by Norman Mailer, p. 277
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

“It would be inaccurate to say that John Fowles is a middlebrow writer who sometimes hopes he is a highbrow: it has never occurred to him to believe otherwise. There is a difference, morally.”

Martin Amis

Opening lines of his review of Mantissa by John Fowles, p. 138
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

“It isn't that the beau monde was too big for Capote's talents. The beau monde was too small for Capote's talents. Here, at least, in human terms the Very Rich are very poor. Interestingly, they are not interesting; incredibly, they are not even credible. They are certainly not the 'unspoiled monsters' of Capote's chapter title: they are spoiled mediocrities, they are boring freaks. The backgammon bums, the sweating champagne buckets, 'the Racquet Club, Le Jockey, the Links, White's', 'Lafayette, The Colony, La Grenouille, La Caravelle', 'Vuitton cases, Battistoni shirts, Lanvin suits, Peal shoes': how keen can a writer afford to be on all this?”

Martin Amis

Review of "Answered Prayers" by Truman Capote, p. 311
The War Against Cliché: Essays and Reviews 1971-2000 (2001)

“By calling him humourless I mean to impugn his seriousness, categorically: such a man must rig up his probity ex nihilo.”

Martin Amis book Experience

Part I: Failures of Tolerance
Experience (2000)

“In my experience of fights and fighting, it is invariably the aggressor who keeps getting everything wrong.”

Martin Amis

"Gore Vidal" (1977)
The Moronic Inferno and Other Visits to America (1986)