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A Contemporary Arrogant Study on Martin Amis's- “Money-A Suicide Note” Abdul Saleem

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A Contemporary Arrogant Study on Martin Amis's- “Money-A Suicide Note” Abdul Saleem International Journal of Research (IJR) Vol -1, Issue -10 November 2014 ISSN 2348 -6848 A Contemporary Arrogant Study on Martin Amis's- “Money-A Suicide Note” Abdul Saleem (Faculty, Dept. of English. Al Jouf University, Saudi Arabia) ABSTRACT narrative technique, Money is a vernacular With Money: A Suicide Note (1984) Amis went dramatic monologue in the Russian skaz global, according to Will Self, perhaps Amis’s tradition. Dostoevski's novella Notes From most clearly identifiable stylistic follower. Underground is the master-text of this tradition, ''Money: A Suicide Note'' is also a confession - containing a narrator whose bitter alienation the author's confession of the gratuitous crime of from his society and its most cherished beliefs totaling John Self. This self-conscious and Self- makes him a perversely perceptive critic of that indulgent novel has an impact that is, society. Self is a literary descendant of paradoxically, selfless. Self doesn't remember Dostoevski's protagonist, sharing the writing out his story, his ''suicide note,'' and it Underground Man's brutal, seamy honesty. reads as if Mr. Amis doesn't remember composing it. It's like a tale taken down in a trance by a medium in the grip of a spirit 2. ABOUT THE AUTHOR control, one of those prankish controls waxing autobiographical from a spectral barstool. Martin Amis ( ā´m Ĭs), 1949–, English Money represents a high-water mark in Amis's novelist; son of Kingsley Amis. The younger career, building on the strengths of his earlier Amis, who turned from literary journalism to novels but far exceeding them in scope, depth of fiction, invites comparison with his father characterization, and organic unity. It also through his choice of career and style. Often stands as one of the indispensable novels of and writing satire so bitterly sardonic that it goes far about its decade . beyond the caustic comedy of his father's fiction, he has exposed the darker aspects of Key words- contemporary English society in his novels. trance,gratuitous,paradoxically,autobiographical, Among them are The Rachel Papers (1973), indispensable Dead Babies (1975), Money (1984), London Fields (1990), Time's Arrow (1991), The 1. INTRODUCTION Information (1995), Yellow Dog (2003), The In Money: A Suicide Note (1984) the materialist Pregnant Widow (2010), and Lionel Asbo: State excesses of the late twentieth century are viewed of England (2012). His short-story collections through, and magnified by, the salacious leer of include Heavy Water and Other Stories (1999). its narrator. "I'm addicted to the twentieth Among his non-fiction works are The War century," says the eponymous John Self, and against Cliché (2001), a selection of mainly during his narrative the reader vicariously literary essays and reviews, and Koba the Dread experiences the damage this addiction inflicts on (2002), an examination of Stalinism's horrors Self's physical body--and the larger social body and the attitudes of Western intellectuals toward he also inhabits. Money represents a high water the Soviet regime. The novel House of Meetings mark in Amis's career, building on the strengths (2006) also treats similar themes—the Soviet of his earlier novels but far exceeding them in Gulag and Stalinist atrocities. scope, depth of characterization, and organic unity. It also stands as one of the indispensable novels of and about its decade. In terms of P a g e | 102 A Contemporary Arrogant Study on Martin Amis's- “Money-A Suicide Note” | Abdul Saleem International Journal of Research (IJR) Vol -1, Issue -10 November 2014 ISSN 2348 -6848 2.1 THE ESSENCE AND COMPARISON coming from the mouths of his fellow "Earthlings" (his name for human beings): "the The plot of Money is deceptively simple. As the foreigners around here . They speak stereo, novel opens, in early summer, 1981, John Self radio crackle, interference. They speak sonar, arrives in New York to direct what he imagines bat-chirrup. The curious reader, consulting a will be his first major film. He is one of the new medical encyclopedia, discovers that tinnitus is a media hucksters who came of age in the free- condition, not a disease. A "common wheeling sixties, and he struck it rich in the mid- complaint," it is "the annoying sensation of seventies making a series of controversial TV noise in the ear when no sound is present." commercials.More recently, he made a deal with the American producer Fielding Goodney to film a story based on his own life. During the six 3. THE UNIQUE PLATFORM frenetic months his narrative recounts, Self turns 35, shuttles between London and New York, Like so many of the details in Money , John meets with Goodney, auditions actors and Self's tinnitus constitutes part of larger pattern of screenwriters, and wallows in the fleshly vices implication that awaits the reader's discovery. his commercials celebrate. Self is seriously Early in his narration Self describes "four involved with two women in the course of the distinct voices" competing for his attention. novel: Selina Street and Martina Twain. They represent a figurative extension of his Selina betrays Self with at least two men, and tinnitus, filling his head with distracting noises. she ultimately stages Self's betrayal of Martina, The first two render him morall y hard of who represented his only (faint) hope for hearing: "First, of course, is the jabber of renewal and reform. The other major character money, which might be represented as the blur in the novel is one Martin Amis; Self hires him on the top rung of a typewriter-- to rewrite the film's script and they have many £%¼@=&$--sums, subtractions, compound subsequent encounters. Self's high-speed, high- terrors and greed. Second is the voice of rolling life comes to an end when he discovers pornography. This often sounds like the rap of a that Fielding has set him up: the money demented DJ: the way she moves has to be good financing the film and his appetites is news, can't get loose till I feel the juice-- . .". nonexistent, and all the contracts he signed with These two refrains nearly drown out all the other Fielding hold Self financially liable. He ends up voices Self hears, leading to everything from back in London, broken, having survived a hilarious comic confusions to searing betrayals failed suicide bid. Absent from this brief to life-threatening catastrophes. They speak of summary is the highly charged language, the an invaded Self, a programmed Self, a arresting comedy, the figurative and thematic diminished Self--a "gimmicked" Self, to use one ingenuity that breathe life into every page of the of his favorite terms. The other two voices--one novel. Consider the metaphorical implications of speaking in conscience-stung tones, the other in Self's hearing problem, for instance. At first, it unquiet desperation--imply regret and possible seems to be a purely physical condition. "Owing reform. "Third, the voice of ageing and weather, to this fresh disease I have called tinnitus, my of time travel through days and days, the ever- ears have started hearing things recently, things weakening voice of stung shame, sad boredom that aren't strictly auditory. Jet take-offs, and futile protest. Number four is the real breaking glass, ice scratched from the tray." intruder. Though Self is not aware of this, these Then these sounds begin to shape themselves two voices are in conflict with the first two. toward meaning--odd music, strange languages-- Taken together, all four voices constitute a that Self cannot decipher. One morning he fragmented, decentered Self. wakes up in a New York hotel room hearing Self thinks of these voices as an unwanted "computer fugues, Japanese jam sessions, affliction, like his tinnitus, though he owns up to didgeridoos". Later, sitting in a London pub a small measure of responsibility for their called The Blind Pig, he hears strange sounds presence. "All the voices come from somewhere P a g e | 103 A Contemporary Arrogant Study on Martin Amis's- “Money-A Suicide Note” | Abdul Saleem International Journal of Research (IJR) Vol -1, Issue -10 November 2014 ISSN 2348 -6848 else. I wish I could flush them out of my head. post-industrial capitalist democracies. Unlike As with vampires, you have to ask them in. But Orwell's protagonist Winston Smith, Self lives once they're there, once you've given them in a "free" society (two of them, in fact). Like headroom, they seem pretty determined to stick Winston, his responses have been conditioned— around". This is because they come to constitute not by a state apparatus, but by an equally Self--who he is, how he sees and hears the powerful economic system that shapes world, how he relates to others. They represent individual subjectivities, fetishizes objects and his subjective experience of the world, what he commodifies relationships. His role in this calls his "private culture." And while the system--as a maker of TV commercials--puts specifics of these voices (especially their him at the center of its mediating machinery. ranking) precisely measure Self's character, they When we laugh at Self, we are laughing at an have a wider application. Their resonance exaggerated version of other selves as well. suggests something about the dialogic design of Money itself. Money can be read exclusively as a 3.1 ONE’S OWN EXPRESSION satirical novel, attacking the dehumanizing influence of capitalism and the specific forms Amis has set severe limits on himself in Money , this has taken in the post-war west. "I think since his narrator is verbally challenged and money is the central deformity in life," Amis has resistant to literature, not to mention narrative said.
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