Martin Amis

The English imprisonment.

In Martin Amis's memoir Experience (to my mind, his finest book), there is an account of an altercation with Salman Rushdie over the merits of the prose of Samuel Beckett. Amis writes:

I really do hate Beckett's prose: every sentence is an assault on my ear . . . Feeling my father in me now (as well as the couple of hundred glasses of wine consumed at the party we had all come from), I settled down for a concerted goad and wheedle. By this stage Salman looked like a falcon staring through a venetian blind.

- "No neither nor never none not no --"

- "Do you want to come outside?"

End of evening.

I was reminded of this when reading Tom Chatfield's recent interview with Martin Amis -- in particular this exchange:

TC: More generally, you and your father are often bracketed together as comic writers. Is that something you feel is getting harder to do?
MA: The comic novel is dying, because comedy is anti-democratic. Comedy is a smear.
TC: Inviting you to laugh at.
MA: Yes. But that may be turning around a bit. People assume that it's the gloomy buggers that are the serious ones -- but in fact, anyone who has ever been anywhere in fiction is funny. Yet there are whole reputations built on not being funny. Who's that German writer doesn't even have paragraph breaks?
TC: I don't know him, I don't tend to read that kind of German writer.

Amis must mean the great Austrian writer Thomas Bernhard, a master of book-length paragraphs. In any event, his refusal to admit to knowing Bernhard's name is a reminder that Amis's canon has always been conspicuously narrow, the list of his elective affinities proudly, even defiantly attenuated -- Dickens, George Eliot, Jane Austen, Smollett, Fielding (he mentions them all in the interview), plus those few honoured Americans (Bellow, Roth, Mailer) from whom he learned to irrigate the English novel with demotic fizz and dazzle. (Beckett, of course, is to all intents and purposes a European, a hero of Amis's dreaded "gloomy constituency".)

I can't think of anyone who has diagnosed the effects on Amis's prose of his self-imposed limitations better than James Wood, who wrote this in a review of Amis's 1995 novel, The Information:

The creation of a partly Americanised yet English comic voice has been his great achievement, and this is not negligible, for it has led Amis part of the way out of the English verbal prison of the 1950s, 60s and 70s. But Amis has re-imprisoned himself in the English burlesque.

A "writer as good as this", Wood went on, "must find an escape". Reading his new novel, and the interviews that have accompanied its publication, I'm not at all sure that Amis is still looking.

Jonathan Derbyshire is Managing Editor of Prospect. He was formerly Culture Editor of the New Statesman.

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It’s been 25 years since the Super Nintendo and Sega Mega Drive were released – what’s changed?

Gaming may be a lonelier pusuit now, but there have been positive changes you can console yourselves with too.

Let's not act as if neither of us knows anything about gaming, regardless of how old we are. Surely you'll remember the Super Nintendo console (SNES) and Sega's Mega Drive (or Genesis, if you're an American)? Well, it's now been 25 years since they were released. OK, fine, it's been 25 years since the SNES' debut in Japan, whereas the Mega Drive was released 25 years ago only in Europe, having arrived in Asia and North America a bit earlier, but you get the idea.

Sonic the Hedgehog by Sega

It's amazing to think a quarter of a century has passed since these digital delights were unveiled for purchase, and both corporate heavyweights were ready for battle. Sega jumped into the new era by bundling Sonic, their prized blue mascot and Nintendo retaliated by including a Mario title with their console.

Today's equivalent console battle involves (primarily) Sony and Microsoft, trying to entice customers with similar titles and features unique to either the PlayStation 4 (PS4) or Xbox One. However, Nintendo was trying to focus on younger gamers, or rather family-friendly audiences (and still does) thanks to the endless worlds provided by Super Mario World, while Sega marketed its device to older audiences with popular action titles such as Shinobi and Altered Beast.

Donkey Kong Country by Rare

But there was one thing the Mega Drive had going for it that made it my favourite console ever: speed. The original Sonic the Hedgehog was blazingly fast compared to anything I had ever seen before, and the sunny background music helped calm any nerves and the urge to speed through the game without care. The alternative offered by the SNES included better visuals. Just look at the 3D characters and scenery in Donkey Kong Country. No wonder it ended up becoming the second best-selling game for the console.

Street Fighter II by Capcom

The contest between Sega and Nintendo was rough, but Nintendo ultimately came out ahead thanks to significant titles released later, demonstrated no better than Capcom's classic fighting game Street Fighter II. Here was a game flooding arcade floors across the world, allowing friends to play together against each other.

The frantic sights and sounds of the 16-bit era of gaming completely changed many people's lives, including my own, and the industry as a whole. My siblings and I still fondly remember our parents buying different consoles (thankfully we were saved from owning a Dreamcast or Saturn). Whether it was the built-in version of Sonic on the Master System or the pain-in-the-ass difficult Black Belt, My Hero or Asterix titles, our eyes were glued to the screen more than the way Live & Kicking was able to manage every Saturday morning.

The Sims 4 by Maxis

Today's console games are hyper-realistic, either in serious ways such as the over-the-top fatalities in modern Mortal Kombat games or through comedy in having to monitor character urine levels in The Sims 4. This forgotten generation of 90s gaming provided enough visual cues to help players comprehend what was happening to allow a new world to be created in our minds, like a good graphic novel.

I'm not at all saying gaming has become better or worse, but it is different. While advantages have been gained over the years, such as the time I was asked if I was gay by a child during a Halo 3 battle online, there are very few chances to bond with someone over what's glaring from the same TV screen other than during "Netflix and chill".

Wipeout Pure by Sony

This is where the classics of previous eras win for emotional value over today's blockbuster games. Working with my brother to complete Streets of Rage, Two Crude Dudes or even the first Halo was a draining, adventurous journey, with all the ups and downs of a Hollywood epic. I was just as enthralled watching him navigate away from the baddies, pushing Mario to higher and higher platforms in Super Mario Land on the SNES just before breaking the fast.

It's no surprise YouTube's Let's Play culture is so popular. Solo experiences such as Ico and Wipeout Pure can be mind-bending journeys too, into environments that films could not even remotely compete with.

But here’s the thing: it was a big social occasion playing with friends in the same room. Now, even the latest Halo game assumes you no longer want physical contact with your chums, restricting you to playing the game with them without being in their company.

Halo: Combat Evolved by Bungie

This is odd, given I only ever played the original title, like many other, as part of an effective duo. Somehow these sorts of games have become simultaneously lonely and social. Unless one of you decides to carry out the logistical nightmare of hooking up a second TV and console next to the one already in your living room.

This is why handhelds such as the Gameboy and PSP were so popular, forcing you to move your backside to strengthen your friendship. That was the whole point of the end-of-year "games days" in primary school, after all.

Mario Kart 8 by Nintendo

The industry can learn one or two things by seeing what made certain titles successful. It's why the Wii U – despite its poor sales performance compared with the PS4 – is an excellent party console, allowing you to blame a friend for your pitfalls in the latest Donkey Kong game. Or you can taunt them no end in Mario Kart 8, the console's best-selling game, which is ironic given its crucial local multiplayer feature, making you suspect there would be fewer physical copies in the wild.

In the same way social media makes it seem like you have loads of friends until you try to recall the last time you saw them, gaming has undergone tremendous change through the advent of the internet. But the best games are always the ones you remember playing with someone by your side.