Martin Amis - Einstein's Monsters

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MARTIN AMIS hates nuclear weapons, and he doesn't care who knows it. In fact, he wants everyone to know it. At mid-career, he has virtually ceased to be a writer of fiction-from 1974 to 1984, he published five comic novels, including the hugely successful Money-and has metamorphosed instead into a kind of anti-nuclear polemicist. Einstein's Monsters, his most recent work, is a collection of stories based on the theme of nuclear holocaust. Lest anyone think this is a chance engagement, Amis has followed up Einstein's Monsters with an article in the October Esquire railing against the insanity of American nuclear planning. The article, a rehash of the Introduction to the present volume, is most notable not for its politics but for the warning it includes to those of us waiting for the return of a depoliticized Martin Amis: "When nuclear weapons become real to you,' he tells us, "hardly an hour passes without some throb or flash, some heavy pulse of imagined super-catastrophe.' The hydrogen bomb has claimed its first English target, and it is the career of Martin Amis.
In his new role, Amis runs around like the sheriff in Jaws, as if he's the only person who knows there's a shark in town and everyone else is trying to keep the beaches open. The Esquire article gives a good sense of the fundamental cheesiness of his political thinking. The members of the Washington nuclear establishment, he says, don't mind talking about "X-ray lasers and hard-kill capabilities,' but they "go green' when the author tries to light up a cigarette. When the author interviews an attache from the Soviet embassy, on the other hand, things go differently; the two "drink a lot of coffee and smoke up a storm.' "Sergi and I got along fine,' Amis tells us. "He didn't want to kill me. I didn't want to kill him.' Amis has invented the Marlboro Peace Plan.
Einstein's Monsters is only a touch more subtle. It consists of five stories, along with both an "Author's Note' and an Introduction. In his Note, Amis vacillates upon the question of whether the stories are polemical. "If they arouse political feelings,' he tells us, "that is all to to the good,' but really, they "were written with the usual purpose in mind: that is to say, with no purpose at all-except, I suppose, to give pleasure, various kinds of complicated pleasure.'
If there is any confusion in the reader's mind, however, it is cleared up by the first story, "Bujak and the Strong Force.' Reading it, one is reminded of the experience of sitting in a college fiction workshop, the excited author right there next to you, enthusiastically explaining the intricacies of his story's symbolic order.
Bujak, the title character, is a hugely powerful Eastern European living in a bad neighborhood in London. A survivor of the Nazi occupation of Poland, he spends a great deal of time arguing with the (American) narrator over the value of revenge. The narrator is anti, Bujak is pro. Bujak polices his block, rounds up petty criminals, makes the streets safe for young ladies at night. "He was our deterrent,' the narrator says. At the end of the story, when Bujak returns to his home to find his mother, daughter, and granddaughter brutally rape-murdered, the drunken perpetrators lying asleep on the floor, we expect him to exact some terrible revenge. But he doesn't. "Why?' the narrator asks. "No court on earth would have sent you down.' (Is this how Americans speak, by the way?) "When I had their heads in my hands,' Bujak replies, "I thought how incredibly easy to grind their faces together. But no… I had no wish to add to what I found.' It's… unilateral disarmament!
Throughout Einstein's Monsters Amis the author is at war with Amis the nuclear theoretician. "Insight at Flame Lake,' for example, would have been a fine schizophrenic-breakdown story, except that Amis the theoretician felt compelled to tack on an anti-nuclear subtext. "Thinkability,' the long introduction to Einstein's Monsters, has its flashes of brilliant writing (the generations of unborn babies who would be aborted by a nuclear war are described as "queueing up in spectral relays until the end of time'), but it is marred by the same sort of simplistic reasoning that plagues the Esquire piece. Amis wants to pin all our problems on the existence of nuclear weapons. In the face of these missiles, no merely personal atrocity matters: "What vulgar outrage or moronic barbarity can compare with the black dream of nuclear exchange?' It's like asking a meter maid, "How dare you give me a ticket when there are Russian tanks illegally parked on the streets of Kabul?' But Amis the satirist knows that it takes a lot more than nuclear weaponry to explain the spiritual malaise of our century, just as Amis the writer knows (or ought to know) that there is always more than one explanation for any human phenomenon. One suspects, in fact, that Amis's opposition to the Strategic Defense Initiative is derived not from the fear of a perilous escalation in the arms race, but from a (perhaps unconscious) perception that, with nuclear weapons gone, the novelist would have to face the fact of unexcused human weakness again.

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Apocalypse happened in the year a.d. 2045. When I was sure it was coming I headed straight for the action: Tokyo. I'll come right out and say that I was pretty much ready to quit. Not that I was particularly depressed or anything. I certainly wasn't as depressed as I am now. In fact I had recently emerged from a five-year hangover and, for me, the future looked bright. But the planet was in desperate shape by then and I wanted no part of it anymore. I wanted out. Nothing else had ever managed to kill me, and I reckoned that a direct hit from a nuke was my only chance. I'm cosmic -in time-but so are nukes: in power. If a nuke hasn't the heft to blow me away (I said to myself), well, nothing else will. I had one serious misgiving. The deployment fashion at that time was for carpet detonations in the hundred-kiloton range. Personally I would have liked something a little bigger, say a megaton at least. I missed the boat. I should have grabbed my chance in the days of atmospheric tests. I always used to kick myself about that sixty-meg sonofabitch the Soviets tried out in Siberia. Sixty million tons of TNT: surely not even I would have walked away from that…

I leased a top-floor room at the Century Inn near Tokyo Tower, bang in the middle of town. I wanted to take this one right on the nose. At the hotel they seemed to be glad of my custom. Business was far from brisk. Everybody knew it would start ending here: it started ending here a century ago. And by this time cities everywhere were all dying anyway… I had my money on an airburst, at night. I bribed the floor guard and he gave me access to the roof: the final sleepout. The city writhed in mortal fear. Me, I writhed in mortal hope. If that sounds selfish, well, then I apologize. But who to? When I heard the sirens and the air-whine I sprang to my feet and stood there, nude, on tiptoe, with my arms outstretched. And then it came, like the universe being unzipped.

First off, I must have taken a lot of prompt radiation, which caused major headaches later on. At the time I thought I was being tickled to death by Dionysus. Simultaneously also I was zapped by the electromagnetic pulse and the thermal rush. The BMP you don't have to worry about. Take it from me, it's the least of your difficulties. But the heat is something else. These are the kind of temperatures that turn a human being into a wall-shadow. Even I took a bit of a shriveling. Although I can joke about it now (it ain't half hot, Mum; phew, what a scorcher!), it really was rather alarming at the time. I couldn't breathe and I blacked out-another first: I didn't die but at least I fainted. For quite a while, too, because when I woke up everything had gone. I'd slept right through the blast, the conflagration, the whole death typhoon. Physically I felt fine. Physically I was, as they say, in great shape. I was entirely purged of that hangover. But in every other sense I felt unusually low. Yes, I was definitely depressed. I still am. Oh, I act cheerful, I put on a brave face; but often I think that this depression will never end-will see me through until the end of time. I can't think of anything that's really very likely to cheer me up. Soon the people will all be gone and I will be alone forever.

They are sand people, dust people, people of dust. I'm fond of them, of course, but they're not much company. They are deeply sick and deeply crazy. As they diminish, as they ebb and fade, they seem to get big ideas about themselves. Between you and me, I don't feel too hot either. I look good, I look like my old self; but I've definitely felt better. My deal with diseases, incidentally, is as follows: I get them, and they hurt and everything, yet they never prove fatal. They move on, or I adapt. To give you a comparatively recent example, I've had AIDS for seventy-three years. Just can't seem to shake it.

An hour before dawn and the stars still shine with their new, their pointed brightness. Now the human beings are all going inside. Some will fall into a trembling sleep. Others will gather by the polluted well and talk their bullshit all day long. I will remain outside for a little while, alone, under the immortal calendar of the sky.

Classical antiquity was interesting (I suppose I'm jumping on ahead here, but you're not missing much). It was in Caligulan Rome that I realized I had a drink problem. I began spending more and more of my time in the Middle East, where there was always something happening. I got the hang of the economic masterforces and flourished as a Mediterranean trader. For me, the long hauls out to the Indies and back were no big deal. I did good but not great, and by the eleventh century I'd popped up again in Central Europe. In retrospect that now looks like a mistake. Know what my favorite period was? Yes: the Renaissance. You really came good. To tell you the truth, you astonished me. I'd just yawned my way through five hundred years of disease, religion, and zero talent. The food was terrible. Nobody looked good. The arts and crafts stank. Then-pow! And all at once like that, too. I was in Oslo when I heard what was happening. I dropped everything and was on the next boat to Italy, terrified I'd miss it. Oh, it was heaven. Those guys, when they painted a wall or a ceiling or whatever-it stayed painted. We were living in a masterpiece over there. At the same time, there was something ominous about it, from my point of view. I could see that, in every sense, you were capable of anything… And after the Renaissance what do I get? Rationalism and the industrial revolution. Growth, progress, the whole petrochemical stampede. Just as I was thinking that no century could possibly be dumber than the nineteenth, along comes the twentieth. I swear, the entire planet seemed to be staging some kind of stupidity contest. I could tell then how the human story would end. Anybody could. Just the one outcome.

My suicide bids date back to the Middle Ages. I was forever throwing myself off mountains and stuff. Boulder overcoats and so on. They never worked. Christ, I've been hit by lightning more times than I care to remember, and lived to tell the tale. (I once copped a meteorite full in the face; I had quite a job crawling out from under it, and felt off-color all afternoon.) And this was on top of fighting in innumerable wars. Soldiering was my passion for millennia -you saw the world-but I started to go off it at the beginning of the fifteenth century. I who had fought with Alexander, with the great Khans, suddenly found myself in a little huddle of retching tramps; across the way was another little huddle of retching tramps. That was Agincourt. By Passchendaele war and I were through. All the improvisation-all the know-how and make-do-seemed to have gone out of it. It was just death, pure and simple. And my experiences in the nuclear theater have done nothing to restore the lost romance… Mind you, I was slowly losing interest in everything. Generally I was becoming more reclusive and neurotic. And of course there was the booze. In fact, halfway through the twentieth century my drink problem got right out of hand. I went on a bender that lasted for ninety-five years. From 1945 to 2039-I was smashed. A metropolitan nomad, I lived by selling off my past, by selling off history: Phoenician knickknacks, Hebrew scrolls, campaign loot-some of it was worth a bomb. I fell apart. I completely lost my self-respect. I was like the passenger on the crippled airplane, with the duty-free upended over my mouth, trying to find the state where nothing matters. This was how the whole world seemed to be behaving. And you cannot find this state. Because it doesn't exist. Because things do matter. Even here.

Tokyo after the nuclear attack was not a pretty sight. An oily black cake with little brocades of fire. My life has been crammed with death-death is my life-but this was a new wrinkle. Everything had gone. Nothing was happening. The only light and activity came from the plasma-beams and nukelets that were still being fired off by some spluttering satellite or rogue submarine. What are they doing, I asked myself, shooting up the graveyard like this? Don't ask me how I made it all the way down here to New Zealand. It is a long story. It was a long journey. In the old days, of course, I could have walked it. I had no plans. Really I just followed the trail of life.

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