Money – Martin Amis

money

Ah, Martin Amis, the marmite man of 20th Century British literature, beloved and loathed by many. Perhaps it’s more accurate to say that his books are beloved and the man himself is loathed, but that seems too black and white for Amis. Regardless; he’s a very famous author not hindered by the international acclaim that surrounds his literary father, author Kingsley Amis, but boasting plenty of talent of his own. Money (full title: Money: A Suicide Note) is considered by many to be his best work, but I confess that I hadn’t heard of it or read it before. In fact, it was merely a book I found on my dad’s shelf and decided to nick from him. Not that he knows that. Woops, sorry Tez. Anywho…

If you saw 2014’s Oscar contender The Wolf of Wall Street, you’ll get the gist of Money. Parties, alcohol, drugs, luxury locations, the best food and the best prostitutes money can buy – the two have clear parallels. John Self is the focus of Money, a man who appears to have a LOT in his pocket by working as a small-time commercial director (your guess is as good as mine) who spends his days hopping between London and New York to work on his first feature-length project, a Hollywood production with some of the USA’s biggest stars. During his jaunts back and forth across the pond, he faces a problematic love life, makes tedious but frequent visits to movie stars so he can stroke their increasingly bloated egos, and – you guessed it – spends lots of money. Every now and then he receives anonymous phone calls from someone watching him closely, taunting him and apparently trying to better him, with the sinister promise that they will meet one day. Self is a fairly selfish man (funnily enough!) and a very dislikeable character, with bad health and horrible attitudes. Still, you can’t really blame him for the latter when you see who else is in his life. Spoilers below.

Like The Wolf of Wall Street, the overall message here is that money doesn’t lead to happiness. Quite the opposite, in fact, when you put hedonism and material possessions before your own emotional health. Self has few friends, no real friends it seems, and the woman he loves – loves is a strong word, perhaps I will say the woman he’s closest to – is only with him for his wealth, a fact which he embraces. He pities her, but overall he pities himself, and there’s a telling moment when he watches some degrading porn that results in a ‘facial’ and he wonders who the real loser is – the female porn star, the male, or himself (the viewer). Even when you’re in a position of power, it’s a shallow world with little dignity. Looking at it from a modern perspective is interesting; Money was published in 1984 long before the days of social media, but today the world’s richest have the power to photograph and brag about their exploits online, quite literally putting a filter over their lifestyles to show them in the best possible lights. Are their lives as glossy and beautiful as their Instagram pages, or are they emotionally drained, too? We know from the first page how little Self enjoys his life – the clue is in the full title.

Not a lot happens in the book, but it’s saved by its fantastic style. The writing is infectious; you never want to stop reading. It’s somehow both flippant and extremely detailed at the same time, with a furious pace. Amis’s observations are original, witty, and often painfully accurate – a review on the back of my copy praises his depiction of the movie star ego, which I have to agree with. When Self meets Lorne Guyland, an established Hollywood actor he’s hoping to tie into his film project, the interaction makes you squirm, as Lorne’s inflated sense of importance wrestles with his insecurity. Yet for me, one of the most astute observations about movie stars and their occasionally inflated attitudes is as follows:

‘I replaced the receiver and stared at my lap. On it lay a cellophaned wallet of Guyland press handouts – this was where I’d scribbled his number. Running my eye down the page I saw that Lorne had, in his time, on stage or screen, interpreted the roles of Genghis Khan, Al Capone, Marco Polo, Huckleberry Finn, Charlemagne, Paul Revere, Erasmus, Wyatt Earp, Voltaire, Sky Masterson, Einstein, Jack Kennedy, Rembrandt, Babe Ruth, Oliver Cromwell, Amerigo Vespucci, Zorro, Darwin, Sitting Bull, Freud, Napoleon, Spiderman, Macbeth, Melville, Machiavelli, Michelangelo, Methuselah, Mozart, Merlin, Marx, Mars, Moses and Jesus Christ. I didn’t have the lowdown on every last one of these guys but presumably they were all bigshots. Perhaps, then, it wasn’t so surprising that Lorne had one or two funny ideas about himself.’

Is John Self based on Amis at all? I doubt it, but I always wonder if writing characters like these makes for a cathartic experience. Self is sleazy and misogynistic. His views are not those of reasonable men – he feebly attempts to rape his girlfriend numerous times, and points out disgusting observations about women around him – and  whilst I suspect Amis would never be so violent or demeaning (despite the odd misogynistic sound bite), I wonder if having an artistic excuse to be as vulgar as possible (while emphasising the kind of miserable, pitiful character underneath the vulgarity) is satisfying. I suspect the same of actors, when they are required to portray someone so unlike themselves, so utterly despicable they could never comprehend behaving that way… there must be a small release in that.

Amis actually inserts himself into the book as a fictional character, and it all gets very meta from there. John Self initially hates Amis – hates writers in general – but gradually warms to him and eventually brings him in to adapt the screenplay that occupies the plot of the novel. At various points, the fictional Amis goes into monologues about authors, narrators, and story structures in general, such as the sense of moral duty authors have to protect their characters’ interests – it’s obvious here that he’s speaking through his fictional self about his own creation John Self – and also what the end of the novel feels like, conveniently placed near the end of Money. It felt very odd (and almost a little self aware?) to read – something dad Kingsley agreed with, supposedly lobbing the book across the room as a result. The fictional Martin Amis was the closest thing John Self had to a real friend throughout the entire novel. You might say he was the only sane one in it, observing the destruction from an external, impartial viewpoint – not unlike the way an author would.

Oddly, Amis seems to pop up in a fictional form in a few books – in Ian McEwan’s Sweet Tooth, McEwan’s writer character Tom Haley performs a reading at an event that Amis is also taking part in. Given the obvious parallel between McEwan and Haley, it’s likely that that entire section is based on a real encounter between Amis and McEwan (two very prominent writers, although Haley remarks how inferior he feels in the presence of the talented and charming Amis) – however, I also wonder if it’s a tongue-in-cheek nod from McEwan, as if he knew of Amis’s tendency to insert himself into fiction and wanted to pay a little tribute. Then again, I haven’t read any of Amis’s books apart from this one so I’m not sure if it’s something he does fairly often, or if this is just a one-off (that McEwan might not have even registered). Still, it struck me as an amusing coincidence. In fact, the whole novel had a McEwan-ish air about it – particularly with a twist at the end. I’m half expecting the two of them to buddy up and write a novel about themselves (that might have already happened…)

So, the aforementioned twist. Well, I guess the first twist is the fact that the full title doesn’t quite reflect the plot: Self does try to off himself at the end, but doesn’t succeed. The main twist, however, is that the movie Self has spent all his time working on wasn’t actually a real movie; rather he was being conned by his henchmen, who fed him his own money back under the pretence that this was fresh payment from a production company. Presumably this plunged him into debt, for I have no idea how a commercial director had that kind of credit to wave around in the first place. The scam and the ending itself aren’t well-explained and I closed the novel with many questions. There is a pinnacle scene where Self confronts the man who had been taunting him down the phone, but the scene is confusingly described and didn’t make a lot of sense in the grand scheme of things. I originally expected the voice at the end of the telephone to be metaphorical – Self’s own conscience berating him for his actions – but instead it was attributed to a character who wasn’t even that closely connected to him. Very odd, indeed.

It was adapted for the BBC in 2010, with Nick Frost in the lead role – partner-in-crime to Simon Pegg (my favourite ever actor) and a talented and charismatic guy in his own right. Frost said in a Reddit AMA interview that it was his favourite role to play, and indeed Amis praised his depiction of Self, which is exciting as Frost doesn’t flex his serious acting skills that often. I’m interested to see what the BBC would do with the famous text. I haven’t yet found a version I can stream or download, but I’ll be sure to check it out when the opportunity arises

So. Not an overly exciting plot but saved by its fantastic style – four stars on Goodreads from me. Good save, Amis.

[Coming next: Anna Karenina by Leo Tolstoy]

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