By Gavin Keulks
This leading edge research of 2 of England's most well liked, arguable, and influential writers breaks new floor in reading the connection among Kingsley Amis and his son, Martin Amis. via intertextual readings in their essays and novels, Gavin Keulks examines how the Amises' paintings negotiated the bounds in their own dating whereas claiming territory within the literary debate among mimesis and modernist aesthetics. Theirs used to be a conflict over the character of truth itself, a twentieth-century realism warfare carried out through loving kinfolk and rival, antithetical writers. Keulks argues that the Amises' dating functioned as a resource of literary concept and that their paintings illuminates a number of the structural and stylistic shifts that experience characterised the British novel given that 1950.
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Extra info for Father & Son: Kingsley Amis, Martin Amis, and the British Novel Since 1950
Wodehouse. As the work of these authors implies, Kingsley's satiric and stylistic masters followed a path relatively uncluttered by the narrative experimentation that so marked literary modernism. These authors developed their characters within the contexts of firmly established social networks and portrayed them in language that refused to sacrifice either lucidity or reason. They posited a fixed moral landscape, insisting upon the essential validity of social as well as literary artistic values.
Denied Nabokov's comfortable separation, the internal maelstrom ofthe plot is very real for Humbert, and consequently, Nabokov can hold him accountable for any moral transgressions. Whereas Kingsley felt that Nabokov and Humbert should be held equally liable for stylistic (and therefore moral) indulgences, Martin exonerated Nabokov by drawing attention to the implicit moralism of the novel's structure, especially its tropes of self-destruction and death. For Martin, Humbert's sins as a character remain inexcusable.
Martin has unswerving respect for Bellow. Friends since the early 1980s, the two men have interviewed each other and appeared together on television, discussing the state of modern fiction and modern life. Martin once claimed to have carried The Adventures ofAugie March with him throughout America - to "remind him of what really matters"and since Kingsley's death in 1995 Bellow's significance in Martin's life has grown exponentially. James Diedrick has theorized that "the proximity and intensity" of Kingsley's influence has led Martin "to seek a series of father substitutes whose influence he can acknowledge without filial conflict," and in Bellow we find evidence of precisely such emotional surrogacy, a complement to the literary paternity always present in their relationship.