By Gavin Keulks
This leading edge examine of 2 of England's most well-liked, arguable, and influential writers breaks new flooring in studying the connection among Kingsley Amis and his son, Martin Amis. via intertextual readings in their essays and novels, Gavin Keulks examines how the Amises' paintings negotiated the bounds in their own dating whereas claiming territory within the literary debate among mimesis and modernist aesthetics. Theirs was once a conflict over the character of truth itself, a twentieth-century realism struggle carried out through loving relations and rival, antithetical writers. Keulks argues that the Amises' courting functioned as a resource of literary suggestion and that their paintings illuminates a few of the structural and stylistic shifts that experience characterised the British novel due to the fact 1950.
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Additional resources for Father & Son: Kingsley Amis, Martin Amis, and the British Novel Since 1950
Defining realism as an "historical impulse that manifests itself as a literary method," Levine contends that realistic works enact a symbolic transaction or debate, paralleling the shape of a Hegelian dialectic. "When a literary method comes to be called realistic," Levine writes, "it tends to imply several things: first, that there is a dominant and shared notion of reality in operation, upon which the writer and his audience can rely; second, that this notion is self-consciously replacing an older and currently unsatisfying one which is open to parody and rejection; third, that there is moral value ...
G. Wodehouse. As the work of these authors implies, Kingsley's satiric and stylistic masters followed a path relatively uncluttered by the narrative experimentation that so marked literary modernism. These authors developed their characters within the contexts of firmly established social networks and portrayed them in language that refused to sacrifice either lucidity or reason. They posited a fixed moral landscape, insisting upon the essential validity of social as well as literary artistic values.
39 Although Martin admits that narrative experimentation does have its limit-that it can exceed levels of credibility and tolerance- he continues to contradict the theoretical precepts his father conscientiously propounded. Thematically, his novels foreground the fragmenting effects that poststructuralist literary theory, nuclear anxiety, and entropy have on one's efforts to create anything ofmetaphysical stability, whether it be family, love, or realistic texts. Although both writers produce comic novels, employing a form of moral satire that is seriocomic in nature, their depictions of the existential and ontological struggles oflate-twentiethcentury life remain separate and tangential.