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Showing results by Martin Amis only

Serious fiction could respond to the accelerated world; but serious poetry couldn’t. Naturally it couldn’t. A poem, a non-narrative poem, a lyric poem – the first thing it does is stop the clock. It stops the clock while whispering, Let us go then, you and I, let us go and examine an epiphany, a pregnant moment, and afterwards we’ll have a think about that epiphany, and we’ll…But the speeded-up world doesn’t have time for stopped clocks.

Meanwhile the novelists subliminally realised that in their pages the arrow of development, purpose, furtherance, had to be sharpened. And they sharpened it. This wasn’t and isn’t a fad or a fashion (far less a bandwagon). Novelists aren’t mere observers of the speeded-up world; they inhabit it and feel its rhythms and breathe its air. So they adapted; they evolved.

—p.66 Guideline: The Novel Moves On (61) by Martin Amis 1 month ago

It’s a matter of pressing interest, I find. What is the purpose of my average day?

If you’d asked me that five years ago, I would’ve equably cited John Dryden, who said that the purpose of literature is to give ‘instruction and delight’. That verdict goes back three centuries, and in my opinion has worn pretty well.*

You hope to delight, and also to instruct. Instruct in a way that you hope will stimulate the reader’s mind, heart, and, yes, soul, and make the reader’s world fuller and richer. My ambition is summed up by a minor character in the late-period Bellow novel The Dean’s December: a stray dog, on the streets of Bucharest, whose compulsive barks seem to represent ‘a protest against the limits of dog experience (for God’s sake, open the universe a little more!)’.

—p.96 Guideline: Literature and Violence (94) by Martin Amis 1 month ago

‘It’s nothing bad. It’s good…Very early on this year I had a kind of…I wasn’t at my desk. I was reading on the sofa. I closed my eyes and imagined a visitor had come to the house. Entirely benign. A gentle ghost – a gentle reader, in fact. And guess who it was. My much younger self, come to me with questions. Only I felt more like a girl this time round. It was like receiving a child of mine. Kind of Nat plus Bobbie.’

‘Jesus Christ. Were you having one of your episodes d’you think?’

‘Probably. Anyway, then I wrote ten pages – fast. Something became undammed. It was me at eighteen, when I used to say to myself, I don’t want to be a writer (or not yet). I want to be a reader. I just want to be a part of it. Humbly resolved, Elena. Devotional. I just wanted to be a part of it.’

‘…Okay. Bye now. D’you realise how early we’ve got to get up? In about half an hour!’ She yawned. ‘Well if you do go crazy, I’ll stand by you. Up to a point.’

‘I know you will, my dearest. Up to a point.’

Martin was eighteen, and he was walking just after dark through a distant and neglected suburb of North London when he saw a lit window on the second-lowest floor of a council medium-rise. All it showed were the dark-blue shoulders of an unoccupied armchair. And he thought (this is word for word),

That would be enough. Even if I never write, complete, publish anything at all, ever, that would be enough. A padded seat and a standard lamp (and of course an open book). That would be enough. Then I’d be a part of it.

sweet

—p.100 Guideline: Literature and Violence (94) by Martin Amis 1 month ago

‘Okay. Carlton had your dress hoicked up over your ribcage!’

With quiet matter-of-factness, taking rightful warmth from her cup with both palms, Phoebe said, ‘He wanted to see it. So I showed him.’

‘Yes, completely straightforward. And logical. Carlton wanted to see it, so you hoicked up your dress and showed Carlton your…?’

‘My mandala. Luckily these pants are see-through so I didn’t have to take them down. I’ll explain,’ she said. ‘Now Carlton’s a corporate raider, but you have to understand that he finds himself drawn, he finds himself increasingly drawn, Martin, to Buddha.’

this is amazing. the pacing of the last sentence

—p.124 The Night of Shame…She’s scaring me, Hitch (102) by Martin Amis 1 month ago

He had no reason to invoke that very congenial episode, up north. But he kept thinking of it while they ate. After the public event, the dinner, and the nightcaps in the hotel lounge, they went to her room and followed the dictates of muscle memory. Being faithful won’t do a damn thing for me (he’d briefly reasoned): I’ll be punished anyway…

oof. good example of self-serving thinking

—p.206 September 11 3: The days after the day after (189) by Martin Amis 1 month ago

Jed Slot was in the hotel bar – being interviewed. Himself a teetotaller, Jed did all his interviews in the hotel bar, and I’d arranged to do all my interviews in there too; but whereas Slot’s sessions lasted all day long and well into the night, mine only accounted for teatime (so I often went in early and came out late, just to listen). The truth was that I had taken up Jed like a new hobby. I had even read him.

‘Eh bien. Now tell me, if you would,’ began the questioner (a shrivelled sage with a briar pipe), ‘what is the difference between the novel and the short story – I mean compositionally, in terms of praxis?’

‘Well, sir,’ said Jed, ‘the novel is more expansive. By contrast, the short story is more succinct.’

chuckled at this

—p.211 France in the Time of Iraq 2: Shock and Awe (211) by Martin Amis 1 month ago

[...] Nabokov has elsewhere made the point that all writers who are any good are funny. Not funny all the time – but funny. All the lasting British novelists are funny; the same is true of the Russians (Gogol, Dostoevsky, and, yes, Tolstoy are funny); and this became true of the Americans. Franz Kafka, whatever your professor might have told you, is funny. Writers are funny because life is funny. [...]

—p.215 France in the Time of Iraq 2: Shock and Awe (211) by Martin Amis 1 month ago

Slot pounced. ‘The story is less comprehensive than the novel. In a short story you’re more aware of limitations of space. So the story provides fewer…’

I paid the extras on the bill and went upstairs for the bag, into which Elena was forcing stray pairs of shoes. I said,

‘It’s a good job Jed brought his thesaurus with him from Buffalo. He might get through the whole six weeks without saying shorter or longer.’

petty but fun

—p.218 France in the Time of Iraq 2: Shock and Awe (211) by Martin Amis 1 month ago

‘He can’t…’ Her eyes were downcast, directed at her shoes or the silky traces of April frost on the blades of grass. My stepmother lowered her head when she spoke. It was her dyed and parted hair I had to interpret (from The Bellarosa Connection). Except Rosamund’s parted hair was undyed and grew with tangly force. She was forty-four, I was fifty-three, Saul was eighty-seven. ‘He can’t read any more.’

‘What?’ And I took a step away from her, to keep my balance.

She glanced over her shoulder. ‘Each time he gets to the end of a sentence,’ she said, or mouthed, ‘he’s forgotten how the sentence began…’

A line from Herzog: Life couldn’t be as indecent as that. Could it?

And I thought incoherently of the times I’d found myself on the London tube without a book, or, worse, with a book but without glasses, or, worse still, with book and glasses but no light (power out) – but the book and the glasses will be found and the light will come back on, and I won’t be sitting in the dark with a book on my lap for the rest of my life.

—p.272 PART III—DISSOLUTIONS: ANTEPENULTIMATE: The Shadow-Line…Nobodaddy (259) by Martin Amis 1 month ago

‘Has anyone noticed? On planes, they’ve started calling passengers customers.’

Blue, at least, had certainly noticed it, and thought it comical; and for a while we found some diversion in a word-replacement game of the kind we often played…

‘ “The passenger is always right.” “Michelangelo Antonioni’s sensitive study of alienation, The Customer”. “He’s an ugly passenger.” “Only fools and customers drink at sea.” “When you are –” ’

‘This won’t work,’ said Christopher. ‘It’s not subversive enough.’

I said, ‘Mm. Insufficiently subversive. But why’re they doing it? Who benefits?’

He said, ‘Americans – that’s who. You take it as an insult, Mart, but for an American it’s a compliment. It’s an upgrade.’

‘How d’you work that one out? Jesus, I don’t understand this goddamned country.’

‘Well, here in the US, passengers might be freeloaders, you know, lying hippies and scrounging sleazebags. Whereas customers, with that discretionary income of theirs, are the lifeblood of the nation.’

‘…All right. But doesn’t it go against the grain of American euphemism? And uh, false gentility? Even in supermarkets they call us guests. Well here’s one thing nobody’ll ever say. The plane crashed into Mount Fuji, with the loss of sixteen crew and just over three hundred customers.’

‘The customers died instantly. No. That would be subversive. If it kills you, I’d say – I’d say that once you’re dead, you go back to being a passenger.’

lol

—p.297 Hitchens Goes to Houston…He’s an ox (287) by Martin Amis 1 month ago

Showing results by Martin Amis only