Money: A Suicide Note
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In the same interview, Amis concedes that: “ Money was a much more difficult book to write than London Fields because it is essentially a plotless novel. It is what I would call a voice novel. If the voice doesn’t work you’re screwed. Money was only one voice, whereas London Fields was four voices.” Mi ripeto perchè è strano a dirsi ma io non l’ho odiato piuttosto ho provato gran pena per lui ( ”consumato dal consumismo”) e quello che rappresenta. This is a hard book to review. 'Money'. I'll probably have to let the whole thing soak. It was brilliant, nimble, sharp, hard, completely balls-out-nuts and pornographic (not really in the PORNporn way, but in the MONEYporn way--yeah, folks, listen to the book you won't understand till you listen to it). Typical line “When is the world going to start making sense? Yet the answer is out there. It is rushing toward me over the uneven ground.”
No, non ci siamo. Non lo sopportavo più. Ho faticato a finirlo. Scrittura magistrale di Amis, ma non basta. Il degrado morale e lo sballo dei magnifici anni ‘80 ci stanno tutti, ma non bastano. Le tristi vicende porno-alcoliche di John Self, regista pubblicitario inglese in cerca di successo in America (nella forma di un film che dovrebbe fare la sua fortuna) e dei suoi collaboratori, amici, attori e attrici non hanno destato il mio interesse ( un eufemismo per non dire che non me ne poteva fregare di meno), nessuno dei personaggi mi ha fatto simpatia, neanche Martina, la donna che avrebbe potuto salvare John dal degrado della sua esistenza, Selina poi, l’oggetto del desiderio sessuale di John, non ne parliamo neanche. Era questo l’obiettivo di Amis, che non voleva certo suscitare simpatie per la sua disincantata lettura degli anni ‘80, quindi bravo. Il problema sono io, che giravo le pagine prima di leggerle per vedere dove sarebbe finito ogni capitolo, un supplizio. All those forces are on the rise today. One of his collections of non-fiction was entitled The Moronic Inferno (1986), a phrase he borrowed from Bellow (who had taken it from Wyndham Lewis). Alas, the inferno is blazing ever more fiercely in 2023. I finished this book days ago, and I have to say that I am glad I read it. Many times Martin made me laugh outloud......I am having a very hard time deciding what kind of review to write for this....it's about Money,and how Money jades you,makes you a sinner, etc. etc. etc.Nemmeno voglio parlare di " valore letterario" o cose del genere; lascio queste riflessioni ad altri più titolati di me. The thing about Martina is — the thing about Martina is that I can't find a voice to summon her with. The voices of money, weather and pornography (all that uncontrollable stuff), they just aren't up to the job when it comes to Martina. I think of her and there is speechless upheaval in me — I feel this way when I'm in Zurich, Frankfurt or Paris and the locals can't speak the lingo. My tongue moves in search of patterns and grids that simply are not there. Then I shout ... Ocr tesseract 4.1.1 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9859 Ocr_module_version 0.0.11 Ocr_parameters -l eng Old_pallet IA-NS-2000213 Openlibrary_edition
The story is about John Self who is a director for advertisement companies and he goes to New York on the invitation of a movie director who is going to make a movie. Self is a lazy human who is indulged in a lot of vices like drinking and hiring prostitutes. He also is into porn and is a huge fan. The film that Self is working on is filled with characters Who do not feel very good about the parts they are given nor are they content with the people they are working in the film with. I would like to begin this review with a statement: I am not a rich man. The highest amount of capital I have ever accrued amounts to approximately two thousand British pounds, and after reading Money: A Suicide Note from Martin Amis, I can also state in all conviction – that will do quite nicely for me. The actors in the film, which Self originally titles Good Money but which he eventually wants to rename Bad Money, all have emotional issues that cause them to clash with each other and with their roles. For example, the strict Christian Spunk Davis is asked to play a drugs pusher; the ageing hardman Lorne Guyland has to be physically assaulted; the motherly Caduta Massi, who is insecure about her body, is asked to appear in a sex scene with Lorne, whom she detests.However, I don't see the comparisons to Nabokov's Lolita beyond the very basic sense that both books have abhorrent narrators. Humbert is far more dramatic and charming, a poet who chooses his words and seduces the reader; John Self has no such charm and his narrative is crude and ranty. I much preferred Nabokov's work. Keulks, Gavin, ed. (2006). Martin Amis: Postmodernism and Beyond. Palgrave Macmillan. ISBN 978-0230008304.
Mi sedetti alla mia poltrona in platea, attentissimo e pronto per la visione di uno spettacolo che si preannunciava divertente. In an interview with the Paris Review, Amis said that “plots really matter only in thrillers”, and that Money was a “voice novel”. “If the voice doesn’t work you’re screwed,” he added. In person, Amis appeared to live so comfortably in his own head that he wasn’t always in touch socially. At the height of his youthful swagger, he published a kind of how-to book for video games: “ Invasion of the Space Invaders: An Addict’s Guide to Battle Tactics, Big Scores and the Best Machines,” which, toward the end of his life, even he grudgingly admitted wasn’t, you know, his best work. (And Amis rarely admitted he wrote anything less than perfect—this was an unexpectedly endearing quality.) To this day, I still smart from my first visit to the Bayswater flat where he did his writing. We sat chatting. He rolled a cigarette and spontaneously revealed that he had just looked at how much money he had in his bank account. “I had an idea,” he said. “I was wrong . . . by a factor of ten.” I took this in, doing various calculations in my head. After all, I was the guy with an overdraft trying to put out a literary magazine. Keulks, Gavin (2003). Father and Son: Kingsley Amis, Martin Amis, and the British Novel Since 1950. University of Wisconsin Press. ISBN 978-0299192105.Because its plot hinged upon the rivalry between two writers – the vacuously successful Gwyn Barry and the failed novelist Richard Tull – The Information was often assumed to be a crude roman a clef about Amis’s falling out with Barnes. In fact, it is more accurately understood as a troubled exploration of the professional writer’s soul: the endless war that is waged within every author, between Barry and Tull, between hunger for recognition and literary integrity. The narrator - John Self - is literally one of the most repugnant characters you will ever meet. He's that despicable misogynistic alcoholic over there in the suit, drowning in his own excess. Alcohol, pornography, hedonism and, of course, money are his life, and he is a cringy embarrassment even to the reader. The Guardian writes that "all his critics have noted what Kingsley Amis [his father] 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 reco Martin Amis is an English novelist, essayist, and short story writer. His works include the novels Money, London Fields and The Information.
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