I am necessarily telling the next story very slightly out of order, but there came a time when Kingsley Amis asked me if by any chance I could introduce him to Tom Driberg. He understood that the old cocksucker had a trove of unpublished filthy poetry from W.H. Auden, Constant Lambert, and others, and he (Kingsley) had been commissioned to edit the new Oxford Book of Light Verse. Might Tom, in exchange for a good dinner, be induced to share his collection? If so, Kingsley handsomely offered to make a foursome of it at a good restaurant and invite myself and Martin along for the fun. I telephoned Tom and asked him if he would say yes. “I’d be most interested to meet the senior Amis,” he murmured. “But do tell me, is he by chance as attractive as his lovely young son?” To this absurd query, from the ever-hopeful old cruiser, the best reply I could improvise was, “Well, Tom, Kingsley is old enough to be his father.”
Martin
My friendship with the Hitch has always been perfectly cloudless. It is a love whose month is ever May.
—Martin Amis: The Independent, 15 January 2007 [as cited in the National Portrait Gallery catalogue that reported my death]
EVENTS ONLY ELICITED the above tribute from Martin when in our real lives it was mid-September and when the press had been making the very most of a disagreement we had been having in print about Stalin and Trotsky in the summer of 2001. Looking back, though, I am inclined to date the burgeoning refulgence of our love to something more like the calendar equivalent of April. Still, it was actually in the gloomy autumn of 1973, around the time of the Yom Kippur/Ramadan War between Israel and Egypt, that we actually and properly met. To anchor the moment in time: Salvador Allende had just been murdered by Pinochet in Chile, W.H. Auden had died, James Fenton (the author of the most beautiful poems to come out of the Indochina War) had won the Eric Gregory Award for poetry and used the money to go off and live in Vietnam and Cambodia, and at the age of twenty-four I had been hired to fill at least some of the void that he left behind at the New Statesman. Peter Ackroyd, literary editor of the rival and raffishly Tory Spectator, was giving me a drink one evening after returning from a trip of his own to the Middle East, and he said in that inimitable quacking and croaking and mirthful voice of his: “I’ve got someone I think you should meet.” When he told me the name, I rather off-handedly said that I believed we’d once met already, with Fenton at Oxford. Anyway, it was agreed that we would make up a threesome on the following evening, at the same sawdust-infested wine bar called the Bung Hole where my New Statesman career had begun.
Lovers often invest their first meetings with retrospective significance, as if to try and conjure the elements of the numinous out of the stubborn witness of the everyday. I can remember it all very well: Ackroyd doing his best to be a good host (it’s a fearsome responsibility to promise two acquaintances that they will be sure to get along well with one another) and Martin rather languid and understated. He did not, for example, even pretend to remember when I said we had met before with our other mutual friend Fenton.* A verse letter to him from Clive James, published in Encounter at about this period, described Martin as resembling “a stubby Jagger,” and I remember this because of how very exact it seemed. He was more blond than Jagger and indeed rather shorter, but his sensuous lower lip was a crucial feature (I didn’t then know that he thought he was most vulnerable in the mouth) and there was no doubt that you would always know when he had come into the room.
His office performed, Ackroyd withdrew and the remaining pair of us later played some desultory pinball in another bar. I noticed that Martin had the gift of mimicry: he could drop or raise his voice and alter his features and just simply “be” the person we were talking about (I cannot now remember who). He asked me which novelists I enjoyed and I first mentioned Graham Greene: this answer palpably did not excite him with its adventurousness. In answer to my reciprocal question he said he thought that one had to look for something between the twin peaks of Dickens and Nabokov, and it came back to me that Fenton had said to me how almost frighteningly “assured” all Martin’s literary essays were turning out to be. I don’t recollect how the evening ended.
But some kind of mutuality had been stirred, and we soon enough had dinner with our respective girlfriends in some Cypriot taverna in Camden Town, where things went with a swing and I can remember making him laugh. Then Yvonne died and I vanished from London and from life for a bit, to discover on my return that Martin had taken the trouble to write me a brief, well-phrased, memorable note of condolence. (A lesson for life: always when in doubt please do send letters of commiseration; at the very least they will be appreciated and at the best they may even succeed in their apparently futile ambition of lightening the burden of bereavement.) The next I knew, I was invited to a small party to celebrate the publication of Martin’s first novel, The Rachel Papers.
Chat about this literary debut had been in the wind for a while, and Martin had an editorial position at the Times Literary Supplement as well as a mounting reputation as a reviewer and (which of course could be made to irk him) the same surname as one of the most famous novelists writing in English. Thus it seemed rather odd that he should be throwing his own book party, in his own small and shared flat, at his own expense. But I am glad of it, because those of us who had the good luck and good taste to attend were later able to reminisce rather triumphantly.
The 1973/74 apparel was absurd of course: cowboy boots and flared trousers for some of the men (those ill-advised cross-hatched blue jeans, designed to resemble armor, for me in particular) and Christ knows what for the girls. Sobriety and corduroy were supplied, however, by Amis senior and by his friend Robert Conquest, the great poet and even greater historian of Stalinism. In the International Socialists we made his book on The Great Terror required reading, but that didn’t mean I didn’t suspect him—and Kingsley too—of pronounced reactionary tendencies. This was mainly because of the reprehensible line they had both taken over Vietnam. Yet I was queasily aware that Kingsley’s Girl, 20, with its ridiculing of “Sixties” morality and mentality, was rather hard to laugh off. Then there was Clive James, dressed as usual like someone who had assembled his wardrobe in the pitch dark, but always “on” and always awash in cross-references and apt allusions. The presence of these few but gravity-donating figures, plus the climb up the stairs from Pont Street on the fringes of Chelsea, made me conserve my breath for a time. I had in fact met both Kingers and Conkers—as they were sometimes known—before, but I was very aware that my roadworthiness (Martin prefers the term “seaworthiness”) in real grown-up company was not to be assumed: at any rate not by me.
The main event of my evening turned out in any case to take place at the opposite end of the age and gender scale. It suddenly seemed to me that Martin’s sister Sally did not perhaps find me entirely repulsive. As the evening gently evaporated I found myself taking her arm in the street and seeing—through quite a lot of fog, I now remember—the looming bulk of the Cadogan Hotel. Perhaps a little flown with wine, I suddenly and confusedly felt that it might be a fine thing to take her to the very place where Oscar Wilde had been arrested. I couldn’t possibly afford it but then, as I thought about it, I couldn’t possibly afford not to do it once I had thought about it. The Wilde suite itself was not available but we did procure a decent room and things proceeded happily enough. Ghost of Oscar or no ghost of Oscar, I did briefly allow myself to wonder if there was anything remotely subliminal or oblique in what I was doing: Sally had rather the same coloring as the brother I was beginning to adore though not at all the same face (it was years until it was established that she was not Kingsley’s daughter, but that’s another tale altogether).
I find now that I can more or less acquit myself on any charge of having desired Martin carnally. (My looks by then had in any case declined to the point where only women would go to bed with me.) What eventuated instead was the most heterosexual relationship that one young man could conceivably have with another. As the days became weeks, and the months became
seasons, and as we fell happily into the habit of lunching and dining and party going à deux, there began an inexhaustible conversation, about womanhood in all its forms and varieties and permutations, that saw us through several episodes of sexual drought as well as through some periods of embarrassment of riches.
It was not, or not by any means all, the locker-room talk that you may imagine (though any reader of Martin’s novels will know how brilliantly inventive is his capacity for bawdry: I refuse to say “obscenity” because the obscene is too easy and besides, it is always either quite humorless or too dependent for its humor on the knowledge that mere infants have of the human anatomy).* It might have been anyone—actually I am sure it was our poet friend Craig Raine—who came up with the appalling yet unforgettable idea that there is a design flaw in the female form, and that the breasts and the buttocks really ought to be on the same side. But it was Martin who went to all the trouble, with dead-pan and dead-on acuity, of arguing the respective merits of which side that ought to be. (One doesn’t necessarily want to see both features walking toward one, for example, but then again it might be dispiriting to see them both simultaneously marching away…) As for metaphors, everybody has at one point seen men standing in front of the pornography section, in either a magazine store or a video emporium, but it was Martin who observed these swaying and muttering figures pulling out and then replacing the contents and compared it to “the Wailing Wall.” He had an instinctive understanding of the relationship between Eros and Thanatos: one winter he was suffering quite badly from flu and left the New Statesman office early to go home. I agreed to walk an abnormally subdued and mufflered Martin down the gelid street to Holborn tube station: as we trudged along there was a girl in front of us who looked as if she was walking on beautifully fluted stilts. “How might it be…?” he murmured thoughtfully with absolutely no leer or salacity. At once, it seemed, he had brightened and straightened and ceased to snuffle.
This was a tiny aspect of an elaborate and detailed investigation of the feminine mystique: a scrupulous weighing of evidence and comparing of notes. I would love to be able to give the impression that it was a relationship between equals but, if represented in cartoon form, the true picture would be closer to one of those great white sharks that evolution has fitted out with an accompanying but rather smaller fish.* I would turn up at parties with Martin, to be sure, but with a rather resigned attitude. At one soirée in Holland Park, he was introduced to a young woman with a result that was as close as made no difference to witnessing a lightning strike or a thunderbolt. His then-girlfriend was present at the party, as I think was the other young lady’s husband, but what then happened in the adjoining room was unstoppable and seemed somehow foreordained. We both knew that the subsequent pregnancy was almost certainly also a consequent one, but so gentlemanly was the husband in the case that it was not until two decades later that Martin received the letter from his missing daughter, the lovely Delilah Seale, his “bonding” with whom—there doesn’t seem to be another word for it—is one of the most affecting things I have ever chanced to see. (And she, the offspring of that thunderbolt moment, has now become the mother of Martin’s first grandchild: another thought that gives me a reflective but piercingly sweet pang. Pasternak was perhaps not such a fool when he wrote in Dr. Zhivago that all conceptions are immaculate.)*
I could tell that Martin was fitted for glory in work as well as life and, when The Rachel Papers was a huge critical and commercial grand slam, I sent him a long telegram. It was a stave from F. Scott Fitzgerald’s Early Success. Of course in some ways this was inappropriate—“Scottie” burned out and died at forty-four and is buried, along with poor mad Zelda, not far from me in Rockville, Maryland—but to us then, the age of forty lay well over the horizon. It wasn’t really true of Martin, as Fitzgerald had put it, that “premature success gives one an almost mystical conception of destiny as opposed to will power—at its worst the Napoleonic delusion.” However, there was a paragraph that did seem to meet the case and this I sent him:
The compensation of a very early success is a conviction that life is a romantic matter. In the best sense one stays young. When the primary objects of love and money could be taken for granted and a shaky eminence had lost its fascination, I had fair years to waste, years that I can’t honestly say I regret, in seeking the eternal Carnival by the Sea.
Over the course of the next several years, we were still able to indulge in creative time-wasting by talking—always with ardent respect, but always exhaustively and until there was absolutely nothing left to say—about women, different women, and sometimes the same woman. I remember being rather relieved when, of one of those women, it could be said that it was I who had featured with her, so to speak, first. It seemed only fair… And then the talk would turn to other things. Martin never let friendship take precedence over his first love, which was and is the English language. If one employed a lazy or stale phrase, it would be rubbed in (there, I have done it again), no, it would be incisively emphasized, with a curl of that mighty lip and an ironic gesture. If one committed the offense in print—I remember once saying “no mean achievement” in an article—the rebuke might come in note form, or by one’s being handed a copy of the article with a penciled underlining. He could take this vigilance to almost parodic lengths. The words “ruggedly handsome features” appear on the first page of Nineteen Eighty-four and for a while Martin declined to go any further into the book. (“The man can’t write worth a damn.”) He was later to admit that the novel did improve a trifle after that. Years later, when I gave him the manuscript of my book on Orwell, he brought it to our next rendezvous at a Manhattan bistro and wordlessly handed it back. He had gone through it page by page, painstakingly correcting my pepper-shaker punctuation.
He seemed to have read everything and he had the rare faculty of being able to quote longish staves of prose from memory. A passage about Sir Leicester Dedlock and gout from Bleak House; a spine-tingling rendition of Humbert Humbert’s last verbal duel with Quilty; a pararaph or two about Alexander Portnoy’s mother (the latter perhaps not so astonishing now I think about it: in his work as well as in his life, Martin has done the really hard thinking about handjobs, and put us all very sincerely and gratefully in his debt). In this area, too, I felt myself the junior. It was he who got me to read Nabokov and to do so with care as well as with awe, if only because I knew I would be asked questions. However, I was able to return the favor in a way which was to help change his life in turn, by pressing on him a copy of Humboldt’s Gift.*
Loved by women while also being adored by men—shall I say “no mean achievement”?—Martin also has a way of attracting fathers. He once went to meet John Updike at the Massachusetts General Hospital and told me that, when he’d said goodbye, had felt oddly as if waving farewell to a male parent. I happened to be interviewing John Updike a year or so later and mentioned that I knew his great admirer the younger Amis. With an extraordinarily gentle expression on his face, Updike recalled the meeting at “Mass Gen” and said: “It was the strangest thing watching him walk away—almost as if he were my son.” And nobody who has read Martin on Saul Bellow, let alone seen him in the company of the old man, can doubt for a second that his combination of admiring and protective feelings had eventually become fiercely filial. He said indignantly to me, when I gave Bellow’s Ravelstein a slightly disobliging review, “Don’t cheek your elders.” I waited for something else—some hint of the ironic, perhaps—but with perfectly emphatic gravity he repeated the admonition. This from the one-time enfant terrible could mean only one thing.**
But I was also lucky in meeting Martin when his relationship with his true father was at its absolute best. I remember envying the way in which the two of them could tell jokes without inhibition, discuss matters sexual, and compete only over minor differences about literature or politics. There had once been a bad time when Martin and his siblings (and his mother) had been abandoned by the old man, and there was to come
a moment when that same old man metamorphosed into an elderly man, querulous and paranoid and devoid of wit. But in between there was a wonderful golden late summer. “Dad, will you make some of your noises?” It was easy to see, when this invitation was taken up, where Martin had acquired his own gift for mimicry. Kingsley could “do” the sound of a brass band approaching on a foggy day. He could become the Metropolitan line train entering Edgware Road station. He could be four wrecked tramps coughing in a bus shelter (this was very demanding and once led to heart palpitations). To create the hiss and crackle of a wartime radio broadcast delivered by Franklin Delano Roosevelt was for him scant problem (a tape of it, indeed, was played at his memorial meeting, where I was hugely honored to be among the speakers). The pièce de résistance, an attempt by British soldiers to start up a frozen two-ton truck on a windy morning “somewhere in Germany,” was for special occasions only. One held one’s breath as Kingsley emitted the first screech of the busted starting-key. His only slightly lesser vocal achievement—of a motor-bike yelling in mechanical agony—once caused a man who had just parked his own machine in the street to turn back anxiously and take a look. The old boy’s imitatation of an angry dog barking the words “fuck off” was note-perfect.*
Hitch-22: A Memoir Page 20
