Meeting Myself Coming Back is a BBC Radio 4 documentary which allows prominent figures to remember their careers through recordings in the BBC archives. In this episode, Martin Amis is reacquainted with a younger version of himself in a witty and honest journey through his life and career.
The programme kicks off with a dated clip from Amis' brief stint as a child-actor in the High Wind in Jamaica, which Amis amusingly reveals isn’t actually him but an elderly woman dubbed in to replace him after his voice broke mid-filming. It continues through to his time as the New Statesman’s Literary Editor, and then progresses to his career as a novelist, literary critic and political commentator more generally. Particular emphasis is placed on a section of his memoirs in which he details the abduction and murder of his young cousin Lucy Partington. He also address the controversial statements he made in the wake of the 9/11 attacks.
The programme smoothly navigates the kinks in Amis’s life: his expulsion from grammar school for truancy, his life in the shadow of his “nice but indolent” father Kinglsey Amis, and his ongoing battle with his teeth, which, he says, has bestowed upon him a real “understanding of suffering”.
This episode of Meeting Myself Coming Back features some quaint anecdotes: at one point the narrator describes a New Statesman competition which asked readers to suggest unlikely book titles for authors. One response suggested for Amis was “My Struggle”. In another section, an audacious young Amis pillories a piece of “old Pilger prose” on the Vietnam War which he states lacks balance and tends towards caricature, much to the dislike of Mr Pilger.
Life at the New Statesman plays a significant part in the hour-long episode. In the unlikely setting of an annual cricket match between the New Statesman and the Tribune, after commenting that he was neither batter nor bowler but in fact “everything”, Amis describes his vision for the literary back pages:
I could use our correspondent from the front-half but would be more inclined to get someone quirky, someone more right-wing, who would make a more interesting piece. Everyone knows what the NS feels about things. And I don’t think you want them said twice. You want an alternative view point in the back half.
Amis also laments his inability to write fiction while working at the New Statesman, and discusses his motivation for leaving in 1979:
It was so absorbing, in fact, that I had to give it up because I didn’t write a word of fiction once I was editor. It gave me so much satisfaction to open the paper on Friday when it was all done that I thought I’d better give this up because I won’t write another word.