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When I go back to the core of my childhood, my cousin Lucy seems always to be in the peripheral vision of my memories. She is off to one side, always off to one side, with a book, with a scheme or a project or an enterprise.

Martin Amis

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Martin Amis
Age: 75
Memoirist
Novelist
Science Fiction Writer
Screenwriter
Short Story Writer
University Teacher
Writer
Abertawe
Martin Louis Amis
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Always
Childhood
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I'm afraid the negative things are always the great subjects. Failure is much more interesting than success.
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Much modern prose is praised for its terseness, its scrupulous avoidance of curlicue, etcetera. But I don't feel the deeper rhythm there. I don't think these writers are being terse out of choice. I think they are being terse because it's the only way they can write.
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Since it is no longer permissible to disparage any single faith or creed, let us start disparaging all of them... A religion is a belief system with no basis in reality whatever. Religious belief is without reason and without dignity, and its record is near-universally dreadful.
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There isn't what my father called the cruising hostility of the English press - where they're looking around for something to attack. You don't feel that there's a great reservoir of resentment in the press as you do in England.
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Life is made of fear. Some people eat fear soup three times a day. Some people eat fear soup all the meals there are. I eat it sometimes. When they bring me fear soup to eat, I try not to eat it, I try to send it back. But sometimes I'm too afraid to and have to eat it anyway.
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The trouble with life is its amorphousness, its ridiculous fluidity. Look at it: thinly plotted, largely themeless, sentimental and ineluctably trite. The dialogue is poor, or at least violently uneven. The twists are either predictable or sensationalist. And it’s always the same beginning, and the same ending.
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Sex was like Disneyland to her: an allotment of organized wonders and legal mischief.
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The process of writing a novel begins with a pang, a moment of recognition, and a situation, a character, or something you read in a paper, that seems to go off, like a solar flare inside your head.
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As someone once said, covers to a novel are like bars to a cage. You can watch the tiger, the Komodo dragon, and admire it - its heart, its severity. Even when they carry out an ugly act, it's still fascinating.
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In my experience of fights and fighting, it is invariably the aggressor who keeps getting everything wrong.
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But before we face experience, that miserable enemy, let us have some more innocence, just for a while.
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America is proud of what it does to its writers, the way it breaks and bedevils them, rendering them deluded or drunken or dead by their own hands. To overpower its tender spirits makes America feel tough. Careers are generally short.
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I can imagine in a century or two that rule by women will be seen as a better bet than rule by men. What's wrong with men is that they tend to look for the violent solution. Women don't.
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When the past is forgotten, the present is unforgettable
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Language leads a double life - and so does the novelist. You chat with family and friends, you attend to your correspondence, you consult menus and shopping lists, you observe road signs, and so on. Then you enter your study, where language exists in quite another form - as the stuff of patterned artifice.
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I would say I'm an ironist not a satirist. All you do is you take existing tendencies and crank them up, just turn up the volume dial. Which is a technique of science fiction, apart from anything else.
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My belief is that everything that's written about you is actually secondary showbiz nonsense, and you shouldn't take any notice of it.
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My 12-year-old daughter said to me, Enough with the subtitles, Daddy, for crying out loud. Because they always seem to cloud the issue rather than clarify it.
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