Martin Amis - Heavy Water and Other Stories

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“Martin Amis is a stone-solid genius… a dazzling star of wit and insight.”

In this wickedly delightful collection of stories, Martin Amis once again demonstrates why he is a modern master of the form. In “Career Move,” screenwriters struggle for their art, while poets are the darlings of Hollywood. In “Straight Fiction,” the love that dare not speak its name calls out to the hero when he encounters a forbidden object of desire—the opposite sex. And in “State of England,” Mal, a former “minder to the superstars,” discovers how to live in a country where “class and race and gender were supposedly gone.”
In
, Amis astonishes us with the vast range of his talent, establishing that he is one of the most versatile and gifted writers of his generation.

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He heard static and felt her hand on his shoulder. They hugged: A!

“Christ, Mal, who messed with your face?”

“Ridiculous, innit. I mean some people you just wouldn’t believe.”

And she breathed out, frowning, and started straightening his collar and brushing away its scurf with the back of her hand.

6. MOTOR SHOW

“Park inna Inn onna Park,” said Fat Lol.

“We ain’t doing it in there, are we?”

“Don’t talk fucking stupid. Pick up me van.”

Access to the innards of the Inn on the Park having been eased by Fat Lol’s acquaintance with—and remuneration of—one of the hotel’s garage attendants, the two men drove boldly down the ramp in Mal’s C-reg. BM. They then hoisted themselves into Fat Lol’s Vauxhall Rascal and proceeded east through Mayfair and Soho. Mal kept peering in the back. The clamps lay there, heavily jumbled, like land mines from an old war.

“They don’t look like normal clamps. Too big.”

“Early model. Before they introduced the more compact one.”

“Bet they weigh.”

“They ain’t light,” conceded Fat Lol.

“How’s it go again?”

Mal had to say that the scheme made pretty good sense to him. Because it relied on turnover. Mass clamping: that was the order of the day. Clearly (or so Fat Lol argued), there wasn’t a lot of sense in tooling round the West End doing the odd Cortina on a double yellow line. Clamp a car, and you got seventy quid for declamping it. What you needed was cars in bulk. And where did you find cars in bulk? In a National Car Park.

But hang about: “How can you clamp a car in a National Car Park?”

“If they not in they bay. The marked area.”

“Bit harsh innit mate?”

“It’s legal,” said Fat Lol indignantly. “You can clamp them even in an N.C.P. If they park bad.”

“Bet they ain’t too pleased about it.”

“No, they ain’t overly chuffed.”

Fat Lol handed Mal a sample windscreen sticker. “Warning: This Vehicle Is Illegally Parked. Do Not Attempt to Move It. For Prompt Assistance…” On the side window of his Rascal additional stickers indicated that Fat Lol welcomed all major credit cards.

“Give them a while and they cool off by the time you get there. Just want to get home. What’s it going to be anyway? Some little slag from Luton bring his wife in for a night onna town.”

They decided to kick off with a medium-rise just north of Leicester Square. No gatekeeper, no bouncer to deny them entry. The automatic arm of the barrier rose like a salute. On the second floor: “Bingo,” said Fat Lol. Twenty prime vehicles packed tight at one end, crouching, waiting, gleaming in the dangerous light of car parks.

Out they dropped. “Fucking Motor Show,” said Fat Lol. And it was true: the chrome heraldry, the galvannealed paintwork. They hesitated as a family saloon swung down from Level 3.

“Let’s do it.”

Disappointingly, only four vehicles were adjudged by Fat Lol to have outstepped their prescribed boundaries. But he soon saw another way.

“Okay. Let’s do them if they’re touching the white lines.”

“In tennis,” said Mal moderately, “the white lines count in.”

“Well in clamping,” said Fat Lol, in a tight voice, bending low, “the white lines count out.”

It was warm and heavy work. These ancient gadgets, the clamps—they were like fucking steamrollers. You had to free them from the van and from each other and hump them into position. Next you got down there— A! —and worked the pipe wrench on the snap ratchet. Then: thwock . There was the clamp with its jaw fast on the car’s wheel. One bit was quite satisfying: spreading the gummy white sticker all over the windscreen.

Fat Lol was down there doing a K-reg. Jag when Mal said, “Oi. I can see your bum crack.”

“Bend down.” Fat Lol stood up. “I can see yourn.”

“You said dress casual.”

“With a car like this,” Fat Lol announced huskily, “it tears you apart. I mean, with a car like this, you don’t want to clamp it.”

“You want to nick it.”

“Nah. To clamp a motor such as this, it’s…”

“Sacrilege.”

“Yeah. It’s fucking sacrilege to mess with a motor such as this.”

Mal heard it first. Like something detaching itself from the siren song of Leicester Square, where the old sounds of various thrashed and envassaled machines contended with the sound of the new, its pings, pips, peeps, beeps, bleeps, tweets and squawks and yawps… Big Mal heard it first, and paused there, down on one knee with his pipe wrench. A concentrated body of purposeful human conversation was moving toward them, the sopranos and contraltos of the women, the sterling trebles and barrelly baritones of the men, coming up round the corner now, like a ballroom, like civilization, uniforms of tuxedo and then streaks and plumes of turquoise, emerald, taffeta, dimity.

“Lol mate,” said Mal.

Fat Lol was a couple of cars further in, doing a Range Rover and tightly swearing to himself.

“Lol!”

You know what it was like? A revolution in reverse—that’s what it was like. Two bum-crack cowboys scragged and cudgelled by the quality. Jesus: strung up by the upper classes. What seemed most amazing, looking back, was how totally they folded, the two big lads, how their bottom, their legitimacy, just evaporated on them there and then. Fat Lol managed to get to his feet and splutter something about these vehicles being parked illegally. Or parked improperly. Or plain parked bad. And that was the extent of their resistance. Big Mal and Fat Lol, those bottle-ripped veterans of ruck and maul, dispensing the leather in cross alleys and on walkways, on dance-hall staircases, elbowing their way out of bowling alleys and snooker-hall toilets, crouching and panting by dully shining exit doors—they just rolled over. We didn’t want to know … Mal tried to wriggle in under the Lotus he was doing but they were on him like the SAS. The first blow he took from the pipe wrench knocked him spark-out. Soon afterwards he awoke and, leaning on an elbow in a pool of blood and oil watched Fat Lol being slowly hauled by the hair from car to car, with the ladies queuing and jockeying to give him another kick up the arse, as best they could, in their gowns. The ladies! The language! Then they were on Mal again, and he stopped another one from the pipe wrench. I’ve copped it in the back, sir. Nigger’s dead, sir… No rest for the wicked. And ain’t that the fucking truth. They hoisted Mal upright, giving his mouth a nice smack on the headlight frame, and had him slewing from bonnet to bonnet, prising at the windscreen stickers with his cold white fingers. This vehicle is illegally. For prompt assistance. All major… And after a last round of kicks and taunts their cars were chirruping and wincing and whirring into life; they were gone, leaving Fat Lol and Big Mal groping toward each other through the fumes and echoes and the heap of cheap clamps, gasping, dripping, jetsam of the machine age.

7. SAD SPRINTER

“Operagoers.”

Sheilagh said, “Operagoers?”

“Operagoers. Okay, it was a bit of a liberty, me and Fat Lol. You could argue we was out of order…”

“You sure it was operagoers?”

“Yeah. I thought it might have been a premiere crowd. Been to a Royal Premiere or something.” Mal and Linzi had recently attended a Royal Premiere, at considerable expense. And he thought it must have been decades since he had been with a rougher crew: fifteen hundred trogs in dinner jackets, plus their molls. “No, they left programs. The Coliseum. They ain’t nice, you know, She,” he cautioned her. Sheilagh had a weakness for films in which the aristocracy played cute. “The contempt. They were like vicious.”

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