University of Silesia English Philology Department Institute of English Cultures and Literatures Joanna Stolarek „Narrative and Narrated Homicide”: The Vision of Contemporary Civilisation in Martin Amis’s Postmodern Crime Fiction Supervisor: Prof. dr hab. Zbigniew Białas Katowice 2011 1 Uniwersytet Śląski Wydział Filologiczny Instytut Kultury i Literatury Brytyjskiej i Amerykańskiej Joanna Stolarek „Narratorska i narracyjna zbrodnia: Wizja współczesnej cywilizacji w postmodernistycznych powieściach detektywistycznych Martina Amisa Promotor: Prof. dr hab. Zbigniew Białas Katowice 2011 2 Contents Introduction ....................................................................................................... 6 Chapter 1: Various trends and tendencies in 20th century detective fiction criticism ............................................................................. 24 1.1. Crime fiction as genre and as popular literature ........................................ 24 1.2. A structural approach to detective fiction .................................................. 27 1.3. Traditional and modern aspects of crime literature in hard-boiled detective fiction ............................................................................................ 31 1.4. Contemporary approaches to detective literature ......................................... 38 1.4.1. A metaphysical approach to detective fiction ................................. 38 1.4.2. Deviance in contemporary crime fiction: linguistic, social, generic deviance ........................................................................................ 44 Chapter 2: Metaphysics, cosmology, existentialism and ethical philosophy in Martin Amis’s fiction ............................................. 54 2.1. A crime story or metaphysical game? – a definition and redefinition of the status of the detective novel in Martin Amis’s London Fields and Tzvetan Todorov’s The Typology of Detective Fiction ................................. 54 2.2. Martin Amis’s Night Train as a melange of a hard-boiled crime story and metaphysical thriller .............................................................................. 64 2.3. Between hardboiling metaphysics and existential fiction in Martin Amis’s Night Train and Paul Auster’s The New York Trilogy ..................... 71 2.4. Killing for the sake of healing? – a psychological, philosophical and metaphysical dimension of genocide in Martin Amis’s Time’s Arrow ............................................................................................................................... 82 3 Chapter 3: Acts of narration or annihilation? – authorial murder and narratees’ victimisation in Martin Amis’s fiction ....................... 97 3.1. Writing as an act of crime: hell, alienation, estrangement and double identity in Martin Amis’s Other People ...................................................... 98 3.2. Violence, manipulation, sadism and autonomy in the process of writing and reading of Dead Babies, Success and Money ...................................... 113 3.3. Defeat of detectives-artists in the process of storytelling and the imprisonment of the narratees in Martin Amis’s selected novels with reference to Somoza’s, Borges’s and Nabokov’s fiction .................... 127 Chapter 4: Power relations in Martin Amis’s writing................................... 141 4.1. Political, social and cultural totalitarianism in Martin Amis’s works...........141 4.1.1. Dictatorial ideologies and their agonizing societies ..................................141 4.1.2. Money: “free” society and cultural enslavement .......................................149 4.1.3. Islamism and Otherness..............................................................................159 4.2. Nuclear anxiety and cosmic oppression in Martin Amis’s fiction ...............162 4.3. The Information: cosmic, existential angst and postmodern literary contest .......................................................................................................... 172 4.4. Femininity and masculinity in Martin Amis’s novels .................................. 180 4.5. Father and Son: The Amises’ genealogical dissent ...................................... 201 4.5.1. Money, Stanley and the Women and Jake’s Thing: chauvinism, feminism and paternal-filial conflict ......................................................................... 202 4.5.2. The Amises on Satire: Dead Babies and Ending Up ................................ 208 Conclusion ......................................................................................................... 224 Bibliography ...................................................................................................... 228 Streszczenie ....................................................................................................... 238 4 List of abbreviations (works by Martin Amis) DB Dead Babies. New York: Vintage International, 1991. E Experience. New York: Vintage International, 2001. EM Einstein’s Monsters. London: Jonathan Cape, 1987. HM House of Meetings. London: Jonathan Cape, 2006. I The Information. London: Flamingo, 1995. KD Koba the Dread: Laughter and the Twenty Million. New York: Vintage International, 2002. LF London Fields. London, New York: Penguin Books, 1990. M Money: A Suicide Note. London: Penguin Books, 1985. MI The Moronic Inferno and Other Visits to America. London: Penguin Books, 1987. NT Night Train. London: Jonathan Cape, 1997. OP Other People: A Mystery Story. New York: Vintage, 1994. SP The Second Plane: September 11: Terror and Boredom. New York: Vintage International, 2008. S Success. London: Penguin Books, 1987. TA Time’s Arrow, or, The Nature of the Offense. London, New York: Penguin Books, 1992. VMN Visiting Mrs Nabokov and Other Excursions. New York: Vintage, 1995. WAC The War Against Cliché: Essays and Reviews. New York: Vintage, 2002. YD Yellow Dog. London: Vintage, 2004. 5 Introduction The present doctoral dissertation undertakes to scrutinise the literary output of Martin Amis, a special emphasis being placed on the author’s redefinition and reevaluation of British and American detective literary tradition together with his concerns over social, cultural and political menaces in the second half of the 20th century and at the threshold of the third millennium. While exploring and analysing the works of the British writer one cannot fail to identify and situate his fiction within postmodern literary and cultural trends and tendencies and therefore his oeuvre requires miscellaneous intertextual interpretations and involved reading. Martin Amis is widely known for his nonconformist, even provocative writing, linguistic experimentation, stylistic innovation and equivocal attitude towards his characters, narrators and the reading public. As regards the themes and issues raised in his oeuvre, the novelist distinguishes himself by delineating the atrocious, villainous, degenerate sides of human nature and of the homicidal facet of contemporary civilisation. Such a dismal vision of mankind transpires from his sundry novels, non-fictional works and various literary articles, yet in the interview with the author of the dissertation Martin Amis expressed his profound belief in humankind (Amis, 6 December, 2010) and in people’s perpetual struggle with the wickedness and heinousness of the contemporary world. The British writer invariably outlines tense, stormy male-female relations and exhibits his highly ambiguous attitude towards women as well as foregrounds controversial subjects related, among others, to genocide, Soviet dictatorship, and currently, to Islamic fundamentalism, and therefore he provokes ceaseless acrimonious discussions and polemics in manifold literary, cultural and political circles. Amis’s oeuvre comprises his novels, collections of short stories, literary essays, political and philosophical discussions as well as numerous interviews with prominent contemporary critics and theorists. As for the novels, the aim of this dissertation is to scrutinise the following ones: Dead Babies (1975), Success (1978), Other People: A Mystery Story (1981), Money: A Suicide Note (1984), London Fields (1989), Time’s Arrow, or, The Nature of the Offense (1991), The Information (1995), Night Train (1997) and House of Meetings (2006). Taking into consideration his fiction, collections of stories, political-philosophical texts and literary essays, I am going to make the 6 analysis of Einstein’s Monsters (1987) comprising five stories and a polemical introduction, Koba the Dread: Laughter and the Twenty Million (2002), Yellow Dog (2003), as well as to refer to Visiting Mrs Nabokov and Other Excursions (1993) which is a collection of occasional journalism, Experience: A Memoir (2000), The War Against Cliché: Essays and Reviews (2001) and a collection of stories The Second Plane: September 11: Terror and Boredom (2008). Apart from these works, Amis is famous for having written and published: The Rachel Papers (1973), his first novel, non-fiction books, such as Invasion of the Space Invaders: An Addict’s Guide (1982), The Moronic Inferno and Other Visits to America (1986) which constitute a collection of twenty seven essays and reviews on American subjects, Heavy Water and Other Stories (1998), a collection of stories dating from the 1970s to the 1990s and Vintage Amis (2004), a selection from his fiction and nonfiction. Owing to huge popularity Martin Amis has acquired, mainly in Western literary world, numerous books, essays and articles have been devoted to the life and literary output of the British writer. Among miscellaneous critical works that have been published in the last two decades suffice it to mention Gavin Keulks’s (ed.) Martin Amis: Postmodernism and Beyond (2006), Brian Finney’s Martin Amis (2008), James Diedrick’s Understanding Martin Amis (2004), John Dern’s Martians, Monsters and Madonna. Fiction and Form in the World of Martin Amis (2000) or Gavin Keulks’s Father & Son. Kingsley Amis, Martin Amis and the British Novel Since 1950 (2006). In addition, one may encounter critical articles, essays and interviews with Martin Amis in his web pages: http://www.martinamisweb.com or http://amisdiscussion.albion.edu. When set aside his fiction from the 1970s, 1980s and 1990s, a considerable number of reviews and articles have been written about the novelist’s current socio-political works, such as The Pregnant Widow (about 20 reviews), The Second Plane (more than 20), largely on account of the contentious and polemical themes in his recent fiction, pre- eminently those concerning islamic terrorism and the reassessment of Stalinist totalitarianism. In comparison with the international acclaim and broad spread of Amis’s oeuvre, in Poland relatively little has been written and published about the British novelist. Polish critics and reviewers seemingly devote little attention to his fiction whereas the majority of the readers in our country still associate his surname with his prominent father, Kingsley. With reference to Polish translations of his books and essays, suffice it to mention Aleksandra Ambros’s Doświadczenie (2006), Krzysztof Zabłocki’s Forsa 7 (1995) and Informacja (2000), Przemysław Znaniecki’s Strzała czasu albo natura występku (1997), Anna Kołyszko’s Pola Londynu (1995), Dariusz Wojtczak’s Sukces (1994) or S. Kowalski’s 2006 translation of Amis’s essay “Wiek horroryzmu” published in Gazeta Wyborcza, dated to 2-4.03.2007 and 10-11.03.2007. Moreover, Martin Amis’s oeuvre became analysed by the English teacher and translator, Magda Heydel whose article “Jeszcze nie w Polsce! Przemiany ciał. Martin Amis, The Pregnant Widow. Inside History” has been published in Textualia literary magazine in 2010. As regards Amis’s earlier works, one may benefit from Beata Piątek’s 2004 article “Bullshit TV Conversations or Intertextuality in Night Train” (in Mazur and Utz 157- 173) and from Magdalena Maczyńska’s 2004 article “Writing the Writer: The Question of Authorship in the Novels of Martin Amis,” in Michael J. Meyer (ed.), Literature and the Writer, Amsterdam and Atlanta, Ga.:Rodopi, pp.191-207. With regard to the motif of crime and detection, numerous critics emphasise the presence of murder and violence in Amis’s fiction, yet they simultaneously remain cautious in interpreting his oeuvre exclusively or predominantly in terms of a detective story tradition. It is, in fact, a few of his novels which undergo an in-depth analysis with reference to the crime genre: Other People: A Mystery Story, London Fields and Night Train. The analysts and literary theorists, such as Brian Finney, assert that although it is hard to label the British author as a crime writer, his oeuvre is saturated with homicide, victimisation and ferocity (Finney, “Narrative”: 1995). The American critic draws the attention to the so-called narrative and narrated homicide in Amis’s novels, the motif or aspect that governs almost every work of the novelist, not only his books dealing with crime, murder and violence. In his sundry books, articles and essays devoted to Martin Amis, among others “Narrative and narrated homicide in Martin Amis’s Other People and London Fields,” “What’s Amis in Contemporary British Fiction? Martin Amis’s Money and Time’s Arrow” (http://www.csulb.edu/`bfinney/MartinAmis.html) or Martin Amis (2008), Finney presents the author’s linguistic and stylistic mechanisms as the forms of manipulation of the characters, narrators and the reading public. The critic stresses the equivocal relationship that pertains between the writer and the characters whom he torments and persecutes and at the same time encourages his readers to share with him his anxiety at the role he is requested to play as novelist (Finney 1995). Victoria Alexander, analogously to Brian Finney in “Martin Amis. Interview” (http://www.dactyl.org/amis.html/), examines Amis’s attitude towards his narratees by referring to his viewpoint on the role and function of a contemporary writer that he 8 expressed in an interview with Ian McEwan on “Writers in Conversation”: “[Life] is all too random. [I have] the desire to give shape to things and make sense of things...I have a god-like relationship [with] the world I’ve created. It is exactly analogous. There is creation and resolution, and it’s all up to [me]” (“Writers”). The authorial sadism and inclination to torment and humiliate his narratees, probably best conspicuous in Money, Dead Babies, Other People, Success, London Fields, The Information or Night Train, come to the fore in Brian Finney’s afore-said articles and book as well as in Elsa Simões Lucas Freitas’s conference paper “Lessons in humiliation in three mystery novels: Martin Amis’s Money, The Information and Night Train” (2008), James Diedrick’s Understanding Martin Amis (2004), John A. Dern’s Martians, Monsters and Madonna (2000) and The Fiction of Martin Amis edited by Nicolas Tredell, to name but a few. With reference to Money the analysts highlight a literary duel between the Amis character playing the role of the author’s alter-ego and the main character and simultaneously narrator, John Self, during which the former persecutes the latter, encouraging to ruin and mercilessly degrade him and lead him to commit suicide using Self’s most awoved cunning enemy, Fielding Goodney. Interestingly enough, the author-narrator’s struggle constitutes a prelude to Amis’s discussion on the function and condition of art and literature in the contemporaneous era, prevailingly the question concerning the role of a postmodern writer and fiction in the face of cultural debasement and degeneration of contemporary society. Success and The Information, the works apparently dissimilar and not classified as detective novels, although the second one is called by Simões Lucas Freitas a mystery story, nonetheless picture the main characters’ humiliation and debacles, predominantly in the context of their vying with other protagonists. In these two books the author employs the motif of doubles and doubling – the exposition of two pairs of contrastive characters embodying two opposing aspects of reality where one of the protagonists gains success exclusively at the expense of another. In other words, the novelist strives to prove that in contemporary world humiliation and failure of the other is crucial for the other part to ascend in a social, cultural or political ladder. Such a premiss seemingly governs the two above-mentioned novels even though they reflect different realities and distinct literary realms. In the first one a personal rivalry of the two feuding foster brothers, situated, as Diedrick remarks, within the context of social and political tensions in England in the late 1970s, symbolises a parody England’s class war, in 9 particular “the spiritual decay of the landed gentry and the greedy self-betterment of the ‘yobs’” (Fuller 66) as well as the increasingly intertwined, hostile relationship between the monied classes and their resentful, entrepreneurial adversaries (Diedrick 54). The Information, on the other hand, foregrounds a ruthless, unscrupulous facet of literary rivalry in the light of mass culture and media technology, and simultaneously broods on the metaphysical dimension of human existence. It is undoubtedly Dead Babies, Other People, London Fields and Night Train in which the motifs of homicide, victimisation and detective investigation, together with the author’s manipulation and torturing of his characters come to the fore, yet the interpretation of these works in terms of a detective story tradition considerably varies or remains explored to a larger or lesser degree. Taking into account the first afore- mentioned book, one can hardly detect any well-known critical examination of this text in the context of crime literature, though the omnipresence of violence, murder and a final revelation of the criminal figure as well as the elements of the carnival saturating the story and evoking Bakhtin’s concept of the carnivalesque, the phenomenon linked by some contemporary critics, most visibly by Christiana Gregoriou, to the theory of social deviance, invite the critics, reviewers and theoreticians to look into the book from the perspective of crime literature. Dead Babies are examined largely in view of its satirical and philosophical side, especially in terms of its allusions to the Menippean Satire, Denis Diderot’s Rameau’s Nephew or Jonathan Swift’s A Modest Proposal. As a contrast, the remaining three novels are much more frequently scrutinised in the context of crime fiction. In Other People, for instance, the critics invariably detect the syndrome of Dr Jekyll/Mr Hyde with reference to the main female character and the traces of the gothic tradition. However, they simultaneously perceive other motifs in the text, principally the influence of “Martian School” on the language of Amis’s story as well as the impact of Jean-Paul Sartre’s play No Exit with its well-known phrase “hell is –other people.” On account of the author-narrator-characters relations and the aspect of narrative homicide, one could draw the analogy between Other People and London Fields, the novels in which the two female protagonists, being at the same time narrators or co-narrators, perform the roles of murderees, yet their oppressors feel unceasingly persecuted and finally overwhelmed by their victims. It is worth noticing that the author’s sadism, aggressive tone and inclination to torture and denigrade his protagonists become assuaged in these two stories and even effaced in Night Train. 10