Martin Amis
From The Art and Popular Culture Encyclopedia
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| - | [http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [Apr 2007] | + | |
| + | '''Martin Amis''' (born [[August 25]], [[1949]]) is a [[United Kingdom|British]] novelist. He is the author of some of Britain's best-known modern literature, particularly ''[[Money (novel)|Money]]'' (1986) and [[London Fields (novel)|''London Fields'']] (1989), and the creator of several of fiction's most memorable characters since [[Charles Dickens]]. | ||
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| + | Influenced by [[Saul Bellow]], [[Vladimir Nabokov]], and [[James Joyce]], as well as by his father Sir [[Kingsley Amis]], he has inspired a generation of writers with his distinctive style, including [[Will Self]] and [[Zadie Smith]]. ''The Guardian'' writes that "[a]ll his critics have noted what Kingsley Amis complained of as a 'terrible compulsive vividness in his style ... that constant demonstrating of his command of English'; and it's true that the Amis-ness of Amis will be recognisable in any piece before he reaches his first full stop." | ||
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| + | Amis's raw material is what he sees as the [[Absurdism|absurdity]] of the [[Postmodernism|postmodern]] condition and the excesses of late-[[Capitalism|capitalist]] Western society with its grotesque [[caricature]]s. He has thus sometimes been portrayed as the undisputed master of what the ''New York Times'' has called "the new unpleasantness."[http://en.wikipedia.org/wiki/{{PAGENAMEE}}] [Apr 2007] | ||
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Martin Amis (born August 25, 1949) is a British novelist. He is the author of some of Britain's best-known modern literature, particularly Money (1986) and London Fields (1989), and the creator of several of fiction's most memorable characters since Charles Dickens.
Influenced by Saul Bellow, Vladimir Nabokov, and James Joyce, as well as by his father Sir Kingsley Amis, he has inspired a generation of writers with his distinctive style, including Will Self and Zadie Smith. The Guardian writes that "[a]ll his critics have noted what Kingsley Amis complained of as a 'terrible compulsive vividness in his style ... that constant demonstrating of his command of English'; and it's true that the Amis-ness of Amis will be recognisable in any piece before he reaches his first full stop."
Amis's raw material is what he sees as the absurdity of the postmodern condition and the excesses of late-capitalist Western society with its grotesque caricatures. He has thus sometimes been portrayed as the undisputed master of what the New York Times has called "the new unpleasantness."[1] [Apr 2007]
