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Visiting Mrs Nabokov and Other Excursions
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Fuelled by innumerable cigarettes, Martin Amis provides dazzling portraits of contemporaries and mentors alike: Larkin and Rushdie; Greene and Pritchett; Ballard and Burgess and Nicholson Baker; John Updike - warts and all. Vigorously zipping across to Washington, he exposes the double-think of nuke-speak; in New Orleans the Republican Convention gets a going over. And then there's sport: he visits the world of darts and its disastrous attempt to clean itself up; dirty tricks in the world of chess; and some brisk but vicious poker with Al Alvarez and David Mamet.
Sex without Madonna, expulsion from school, a Stones gig that should have been gagged, on set with Robocop, or on court with Gabriela Sabatini, this is Martin Amis at his electric best.
Sex without Madonna, expulsion from school, a Stones gig that should have been gagged, on set with Robocop, or on court with Gabriela Sabatini, this is Martin Amis at his electric best.
288 pages, Paperback
First published January 1,1993
This edition
- Format
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288 pages, Paperback
- Published
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April 7, 2005 by Vintage
- ISBN
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9780099461876
- ASIN
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0099461870
- Language
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English
About the author
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Martin Amis was an English novelist, essayist, and short story writer. His works included the novels Money, London Fields and The Information.
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 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 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."
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 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 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."
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