Martin Amis
The limits of comedy
in The grotesque in contemporary British fiction
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter looks at the work of Martin Amis in the light of author's discussion of the grotesque in literature. It examines his novels Money: A Suicide Note and London Fields. An important example of Amis situating his work within the tradition of the grotesque occurs at the very beginning of Amis's career as an author in The Rachel Papers. Amis is interested in genre and brings comedy and slapstick to bear on his account of the contemporary novel. Time's Arrow represents a prime example of a grotesque novel. In Time's Arrow it is ironically the irreversible nature of time and of the past that is emphasised, and through the grotesque what has been a mechanism for comedy becomes a means of engendering deep pathos and horror.


All Time Past Year Past 30 Days
Abstract Views 70 27 0
Full Text Views 26 12 0
PDF Downloads 10 3 1