As the collected stories of Kingsley Amis are published, Rachel Cusk celebrates his astringent humour – and argues that he is as relevant today as when he was writing
"Yet if Amis kept close to the sources of his own experience, it may partly
have been out of a kind of humility, almost a shyness in the face of
questions of art. Self-deprecation, usually in the guise of comedy, is a
hallmark of an Amis project; humour was his mode of attack and of address.
And if humour is also a defence against, among other things, the accusation
that one is taking oneself too seriously, Amis may have relied on his
identity as a comic writer to shield him from the larger consideration –
both private and public – of his stature as an artist.
Nowhere is this clearer than in his handling of the short-story form, whose
particular possibilities for advancing the representation of modern
experience he acknowledged while firmly distancing himself from them: “The
things that only the short story can do,” he wrote, “the impression, the
untrimmed slice of life, the landscape with figures but without characters,
make little appeal to me.” His own stories, he said, were mere “chips from a
novelist’s workbench”.
He goes on, more revealingly, to observe that the contemporary short story
tends to be published in “those pale and sickly present-day equivalents of
the Victorian fiction magazines, the periodicals subsidised by the Arts
Council or one of its offspring. A writer, or any other kind of artist, who
partly or largely need not depend on pleasing the public, who in effect has
his fee guaranteed whatever the quality of his produce, is tempted to
self-indulgence and laziness.” Better to stick to the novel, “which is as
yet unlikely to contain any material subsidised by the Arts Council”.
Amis’s fear of art being viewed as pretence and the artist as lazy or
dependent is clear from these remarks; and who would accuse an artist of
being lazy? The answer might be: a working man. With his talk of produce and
workbenches, Amis is trying to create the image of the writer as an ordinary
worker, to dispel art’s associations with foppishness and pretentiousness
and self-aggrandisement. These associations were evidently painful to Amis –
but why? It is as though, in the modernist possibilities of the short story,
he perceived a threat both to his masculine and his writerly identity; yet
for a generation of American male writers emerging contemporaneously with
Amis, the short story was a sort of “working man’s” – almost a macho – form."
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The Telegraph