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Martin Amis was twenty-three when he wrote his first novel, The Rachel Papers (1973). Over the next half century – in fourteen more novels, two collections of short stories, eight works of literary criticism and reportage, and his acclaimed memoir, Experience – he established himself as the most distinctive and influential prose stylist of his generation. To many of his readers, Amis was also the funniest. His intoxicating comedic gifts express a profound understanding of the human experience, particularly its most shocking cruelties, and Amis wrote with pathos and verve on an astonishing range of subjects, from masculinity and movie violence to nuclear weapons and Nazi doctors. His books, which have been translated into thirty-eight languages, provide an indelible portrait and critique of late-capitalist society at the turn of the twenty-first century. He died in 2023.This novella is <b>the best thing Martin Amis has done in fiction for years</b>: very complex, very forceful, startling in the amount of ground it covers, and densely and intelligently put together
Literary Review
An ambitious feat...the result is brilliant
Independent
It is <b>difficult not to be impressed by this compact tour de force</b>... Amis has produced a memorable novel and a memorable protagonist
Observer
A singular, unimpeachable triumph
The Economist
Unmistakably Amis's best novel since <i>London Fields</i>...a slender, moving novel, streaked with dark comedy
Sunday Times
Undeniably, distinctively identifiable, vintage Martin
Independent on Sunday
The novel has a cumulative power and resonates with many reflections about the course of individual destiny in a profoundly cruel universe
The Times
This is Amis writing at the pitch he has reached in <i>Money</i>...remarkable
Times Literary Supplement
I read it as slowly as I could. I savoured every page, like sucking the mints from my hotel's reception down to shards. I tried to keep from finishing it, but couldn't help myself, and cursed when the book was done
A compelling work of fiction in which learning and imagination are beautifully counterpoised
New Statesman