🚨 IN 2025… My Martin Amis will culminate in a LIVE PODCAST EVENT 📅 SAVE THE DATE: Sunday 23 March 📍WHERE?&nbsp;21Soho , 3-5 Sutton Row London, W1D 4NR 🎟️🔗 <a href="https://www.tickettext.co.uk/lqdg9B4Guk" rel="noopener noreferrer" target="_blank">TICKETS ON SALE NOW</a> 🔗🎟️ Martin Amis's 1997 novel Night Train followed a trifecta of bestsellers: Money, London Fields and The Information. Written as a dark parody of the noir genre, Night Train follows female detective Mike Hoolihan on an investigation into the suicide of a woman named Jennifer Rockwell. Her death is near total mystery to everyone who knew her, including Hoolihan. Prior to her death, Rockwell appeared to live a perfect life accentuated by her own physical beauty. Stranger still is the suggestion, based on the forensics, that Rockwell had shot herself in the head three times. Night Train was adapted to screen in 2018 by film director, screenwriter and producer Carol Morley. In this episode, Morley speaks to Jack about how the opportunity came to her, her first impressions of the novel, and how in the process of adapting it she found a deep connection with both Hoolihan and Amis. The adaptation was named Out of Blue, a though it received mixed reviews, Amis emailed Carol to say he was pleased it had been made. Carol speaks candidly about the process of collating the images around which to build the story, her research into American police investigations into homicide, and her last thoughts about the mark Amis left on her as a reader and film director. FOLLOW US ON TWITTER/ X: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a>

"I should've gone to lunch with Martin Amis, because by that point I loved him." Carol Morley

English novelist Anthony Quinn has met and interviewed Martin Amis on several occasions. Their first encounter followed the publication of London Fields in 1989, the second during the publicity storm that came with Amis's 1995 novel The Information. In this episode, he and Jack discuss Amis's last novel, Inside Story, published in 2020. Although Anthony struggled with it in his first reading, he later came to consider it a masterful valedictory that encompasses all the best and worst of Amis as a man, and as a writer. Described by some as 'The Big Book of Mart', Inside Story is part memoir, part novel, and part writing manual. As well as revising Amis's final words of wisdom and warning to writers, Anthony and Jack cover the great romantic and literary loves of Amis's life, from Saul Bellow and his godfather Phillip Larkin, to the inimitable Christopher Hitchens. Crucially, Anthony reveals who he believes Amis loved most of all the people in his life. FOLLOW US ON TWITTER/ X: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a> 🚨 IN 2025… My Martin Amis will culminate in a LIVE PODCAST EVENT 📅 SAVE THE DATE: Sunday 23 March 📍WHERE?&nbsp; 21Soho , 3-5 Sutton Row London, W1D 4NR Guest speakers TBC. Ticket info to follow!

"He opened the door, holding three darts. Amis was quite mischievous." Anthony Quinn

British author, journalist and war correspondent <a href="https://en.wikipedia.org/wiki/David_Patrikarakos" rel="noopener noreferrer" target="_blank">David Patrikarakos</a> was due to leave the UK for Athens in the summer of 2024. Before he left, he discovered My Martin Amis, and quickly got in touch to ask to tell his story about how he became, as he put it, "mildly obsessed" with the late novelist. On this episode, David and Jack sit down together early one morning to revisit The Rachel Papers, Amis's first novel and one previously discussed on episode 4 with journalist and author Zoe Strimpel. David explains that he discovered the novel on his family bookshelf at the age of 14. The opening line from Charles Highway was a slam dunk: "simple and declarative and clever". From that point on, David was an Amis fan. David also describes an antique copy of Hamlet he bought that once belonged to Amis as an undergraduate. The book contains Amis's marginalia. For more on that, you'll have to listen to the conversation. Needless to say, Amis was a precocious student who never stopped overachieving in later life, much to the chagrin of his global peers and critics. David and Jack also discuss Amis's famous friendship with the late essayist Christopher Hitchens, with whom Amis shared much of his life, even the same cause of death. Were he to have the job of teaching a class of journalism students for a year, David says he would have no problem replacing Hitchens with Amis on the reading list. Amis's The War Against Cliche aside, being "alive to the possibilities of prose" is essential to any writer, he says. Yes, Amis can be over-prescriptive at times, but by letting him guide you for a period, you soon discover what it is writing does that no other art form can do. The important thing, as ever, is to learn from Martin Amis, then go your own way. FOLLOW US ON TWITTER/ X: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a>

"Martin Amis makes you alive to the possibilities of prose." David Patrikarakos

On this episode, British journalist, author and video game critic for The Observer <a href="https://en.wikipedia.org/wiki/Simon_Parkin" rel="noopener noreferrer" target="_blank">Simon Parkin</a> reaches into the more obscure corners of Amis's bibliography to dissect a dazzling collection of arcade game reviews published circa 1982. Entitled <a href="https://en.wikipedia.org/wiki/Invasion_of_the_Space_Invaders" rel="noopener noreferrer" target="_blank">Invasion of the Space Invaders</a>, this glossy publication starts with Amis's recollection of the moment these machines stole his heart, after a Space Invaders console makes its debut in a bar in the South of France. It goes on to chart the best arcade games of the era, offering Amis's review of everything from Pac-Man to Donkey Kong, to Frogger, to Missile Command. We also get his firsthand observations from the scuffed floors of New York's seediest video parlours of who this new medium is attracting, why it is so captivating to its devotees, and what it is costing both them and society at large. Simon explains how Amis first fuelled his aspirations to write as a freelance journalist, and why his work remains both aspirational and relatable to this day. FOLLOW US ON TWITTER/ X: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a>

"Amis's prose is sparkling, relatable, aspirational, and authentic." Simon Parkin 

<a href="https://en.wikipedia.org/wiki/John_Niven" rel="noopener noreferrer" target="_blank">John Niven</a> is a Scottish author and screenwriter whose books include&nbsp;<a href="https://en.wikipedia.org/wiki/Kill_Your_Friends" rel="noopener noreferrer" target="_blank">Kill Your Friends</a>,&nbsp;<a href="https://www.penguin.co.uk/books/396913/the-amateurs-by-john-niven/9780099592129" rel="noopener noreferrer" target="_blank">The Amateurs</a>,&nbsp;<a href="https://www.waterstones.com/book/the-second-coming/john-niven/9780099592136" rel="noopener noreferrer" target="_blank">The Second Coming</a>. The F*ck-it List, and O Brother. John discusses his favourite of Amis's novel, <a href="https://en.wikipedia.org/wiki/The_Information_(novel)" rel="noopener noreferrer" target="_blank">The Information</a>, published in 1995. The Information follows two star-crossed writers, Gwyn Barry and Richard Tull. The pair have been friends since university, but now as their approach their mid years, Tull's once promising career is withering on the vine while Barry receives plaudits and more opportunities than he can manage. John explains how the novel has aged like fine wine for him, both as a reader and writer whose career has mirrored both Tull and Barry's circumstances, though he is pleased to say it has settled somewhere comfortably in the middle of the two. As John says, Amis occupied a rarefied place: a serious literary novelist who was at the same time incredibly funny. His hunch is that Amis will be read for decades to come. Time is, after all, the only true test of a writer's work. FOLLOW US ON TWITTER/ X: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a>

"Amis is one of the best writers of dialogue." John Niven

Reporter for The Sunday Times <a href="https://twitter.com/Will___lloyd" rel="noopener noreferrer" target="_blank">Will Lloyd</a> sits down with <a href="https://twitter.com/jackaldane" rel="noopener noreferrer" target="_blank">Jack Aldane</a> on this ninth episode to discuss The Second Plane, a collection of twelve pieces of nonfiction and two short stories by Amis published in 2008, covering&nbsp;9/11, the age of terrorism,&nbsp;Islamism and the follies of the Blair-Bush coalition. Will says Amis should be remembered as one of the greatest comic novelists ever to write in English. However, he adds that had the author remembered this himself when it counted, The Second Plane would probably never have been written. The Second Plane shows what can happen to a writer when seismic events combine with the weight of expectation to explain them in real time. When the World Trade Center is attacked on 11 September 2001, Amis does not report from the ground, nor speak to those who witness the event firsthand. Instead, he along with other members of the literary elite are conscripted to tell the Anglophone world what it all means. Some confess in their columns to being poleaxed by what they’ve seen. Amis instead uses his adrenaline to tame and name the collective moment with signature bombast. But this is not John Self’s New York, and Amis is unusually way off the mark. Will explains why The Second Plane is arguably a literary parallel of the Iraq War. For one thing, the same errors of conjecture and righteous zeal are noticeable throughout. Like so many cultural and political thought leaders of his time, Amis went over the top only to discover that he was woefully out of his depth. FOLLOW US ON TWITTER/ X: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a>

"When he died, I was distraught. Only Amis could have that effect on me." Will Lloyd

Journalist and memoirist <a href="https://www.grahamcaveney.com/" rel="noopener noreferrer" target="_blank">Graham Caveney</a> speaks to <a href="https://twitter.com/jackaldane" rel="noopener noreferrer" target="_blank">Jack Aldane</a> on this eighth episode of the series about Martin Amis's iconoclastic fifth novel <a href="https://en.wikipedia.org/wiki/Money_(novel)" rel="noopener noreferrer" target="_blank">Money: A Suicide Note</a>. He and the host discuss the novel's true subject, which runs counter to popular interpretation. Though Money is often celebrated as the quintessential novel of the 80s, Caveney argues it is as much if not predominantly a story about the 60s, of which the 80s was arguably the last, lurid hurrah. And of course, they discuss the novel’s protagonist John Self, who shows what happens when yobbish machismo meets a culture of convenience and excess, and whose farcical downfall makes Money an early diagnosis of the human condition under neoliberalism. Caveney explains the novel's impact on his generation. By the closing decades of the 20th century, he says, aspirant writers in the UK were resigned to thinking about the English novel as a relic of the pre-war era. With the American canon at the helm, Britain was losing its voice in contemporary fiction. By writing Money Amis single-handed tore up the rulebook, proving that it was once more possible for English writers to take on the zeitgeist with originality and authority. For Caveney, Money was a cultural watershed on par with the greatest seminal moments in modern music. FOLLOW US ON TWITTER: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a>

"Reading Money was like hearing The Clash for the first time." Graham Caveney

<a href="https://twitter.com/leorobsonwriter" rel="noopener noreferrer" target="_blank">Leo Robson</a> is a freelance writer whose work has featured in <a href="https://www.newyorker.com/contributors/leo-robson" rel="noopener noreferrer" target="_blank">The New Yorker</a>, <a href="https://harpers.org/archive/2020/11/a-swing-and-amis-inside-story-review/" rel="noopener noreferrer" target="_blank">Harpers</a> and <a href="https://www.newstatesman.com/culture/2017/09/martin-amiss-the-rub-of-time-shows-its-possible-to-be-foolish-and-brilliant" rel="noopener noreferrer" target="_blank">New Statesman</a>, among others. In this episode, he and the series' host and producer <a href="https://twitter.com/jackaldane" rel="noopener noreferrer" target="_blank">Jack Aldane</a> sit down to discuss Martin Amis's fourth novel <a href="https://en.wikipedia.org/wiki/Other_People_(novel)" rel="noopener noreferrer" target="_blank">Other People, a Mystery Story</a>, published in 1981. Robson explains that Amis had many literary debts his fans can take pleasure in exploring, and that the novelist, much like his father Kingsley, wrote in order to manage his fears and anxieties about the turbulence of the 20th century. The taxonomies Amis used to organise the world, from the largest elemental forms (Time, Death, Sex, Money), to the minutiae of existence, were arguably his coping strategy, Robson says, and one he wielded brilliantly. Though his "centurion confidence" as a writer could grate, he adds, Amis gifted his readers a way to see the world afresh, to take it in slowly and carefully, and to use some of that same confidence to marvel and laugh at its darkest features. FOLLOW US ON TWITTER: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a>

"Amis is at his best when he leans into his fears." Leo Robson

Editor of Cap X <a href="https://twitter.com/alysdenby" rel="noopener noreferrer" target="_blank">Alys Denby</a> discovered Martin Amis through a boy at university would she would later go on to marry. The first book of Amis's he leant her was <a href="https://en.wikipedia.org/wiki/Success_(novel)" rel="noopener noreferrer" target="_blank">Success</a>, published in 1978. Success juxtaposes two lives set in the same era of social and economic transformation in Britain: that of well-bred Gregory Riding and his lowly foster brother Terence Service. The story is told through a two-way mirror of Riding and Services's ego-fuelled ambition. Their contrasting projections foreshadow Amis's long-term interest in male rivalries and women who enter them, often with hilarious and horrific consequences. Alys tells Jack the story of what Success taught her about men's idea of success, how many of Amis's male readers seriously underestimate how funny women find his prose, and how times have changed such that a book like Success would likely never receive the same plaudits today as it did from papers like The Observer. FOLLOW US ON TWITTER: <a href="https://twitter.com/mymartinamis" rel="noopener noreferrer" target="_blank">@mymartinamis</a>

"Reading Martin Amis makes you feel funnier, cleverer, more insightful." Alys Denby

Personal stories from writers, critics and publicists about the life and legacy of late English novelist Martin Amis (1949-2023). Host and producer: Jack AldaneMusic: 'June' by Nigel MartinTwitter: @mymartinamis

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