I somehow never got around to Amis* despite the overwhelming Anglophilia of the milieu that produced me: I probably should have read him in college, but I was too busy reading the Victorians and postmodernists. His love for Bellow and Nabokov is intriguing though- i’ve often thought that one of the main weaknesses of *American* literature is the opposite tendency, a predilection for periods of extended self-loathing about the fact that we can’t really produce these intricate and elegant novels of settled hierarchal society the way that the English can- so I’m curious to know what the opposite looks like. And yes, the downbeat stuff on MLIR, Parklife and The Great Escape is generally the best Blur (although I dig the upbeat stuff too!)
*father or son!
Right, the complex that starts with Henry James's book on Hawthorne, is carried through those midcentury critics I mentioned in our James-Melville conversation (as well, significantly, both Gore Vidal and Joan Didion), and extends to the late-20th-century laments over the absent social novel of both Tom Wolfe and Jonathan Franzen. The historian-journalist streak, as opposed to the poet-prophet—except that, as we established, both Melville and James are large enough to contain both.
One way to see Amis and his cohort, again with a pop music analogy, is as the literary version of the British Invasion: American "rock" with its diverse influences (mainly Jewish rather than black, in the novelistic case as opposed to the musical) reimagined through the lens of post-imperial Britain. Here they differ from the later and belated phenomenon of Britpop, with its initial nationalist riposte to America's indie-grunge turn, deliberately de-Amerifying rock.
Thomas Meaney, reviewing Inside Story when it came out, distinguished Amis's style from the English realist tradition and made the Bellow-rock connection:
The magnetism of Bellow for Amis’s generation of English writers is well attested: Hitchens, Ian McEwan, and later Will Self and James Wood, all found something in Bellow’s high-calorie sentences that they couldn’t get at home. It was perhaps, above all, the permission to dispense with the rationed intensity of good mid-century British prose – the clean, spare, simplicity of George Orwell’s diction that reached its apotheosis in VS Naipaul and has been gently ironised by Kazuo Ishiguro.
Amis ran farther than any of his peers in the opposite direction: towards a maximalism that he has never abandoned or so much as questioned. His head-swaying to American street-wise rhythms, albeit leavened by English classicism, is the literary version of Mick Jagger crooning “Hoochie Coochie Man” at the Checkerboard Lounge with Muddy Waters, or Daniel Day-Lewis, son of Cecil, shouting, “I will find you!” in deerskin breechcloths under a waterfall in The Last of the Mohicans.
Other than Austen—a genius and so above rules or considerations of taste—the English social novel doesn't interest me much either; I've never gotten anywhere with Thackeray or Trollope, mildly dislike Fielding, cheer on Woolf's polemic against Bennett. I prefer their Romantic visionary prose tradition, which, in figures as distinct as the Brontës and Dickens, as Woolf and Lawrence and Forster, turns what appear to be social novels into myths and gospels. On this basis, I've never read Kingsley either; he doesn't really seem to "export." Martin, however, loved Fielding and Austen and has a definite undertow of the traditional English satirical social novel (Meaney's "leavened by English classicism") for all the visionary coloration he borrows from inherently aclasscal Americans.
Anyway, the chapter I'm now writing in Major Arcana, one of the last, is titled "Et in Arcadia Egirl," so I should probably stop pretending I am not also in part writing a satirical social novel.
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