Kapitel in diesem Buch

1. Front Matter i
2. Contents v
3. Figures vii
4. Acknowledgments ix
5. Introduction 3
6. 1946–1969: Exposing Flaws in Antimodels and Formative Influences
7. Exploring Critical Misinterpretations and the Roots of Antimodels 17
8. Lessons of The Legacy, a Comparison with Wain, and the Development of a Narrative Voice in Lucky Jim 27
9. Defining the Self: Writing Against Dylan Thomas and Philip Larkin in That Uncertain Feeling 46
10. Lessons in Storytelling: Graham Greene, Modernism, and I Like It Here 58
11. Experiments in Content: William Empson, Ambiguity, and Take a Girl Like You 75
12. Evelyn Waugh, Charles Algernon Swinburne, and Englishness in One Fat Englishman 90
13. Limitations of the Provincial Aesthetic in Amis’s Poetry: Witnesses, Moral Provocateurs, and The Evans Country 106
14. New Reasons to Write: Entertainment and the Inner Audience in The Egyptologists, The Anti-Death League, and I Want It Now 121
15. 1969–1995: Towards Reciprocity and Balance
16. Looking into the Artistic Future: The Green Man, Girl, 20, Ending Up, and The Alteration 143
17. Problems with Language and Balance: Jake’s Thing, Stanley and the Women, and Russian Hide–and–Seek 158
18. Resolving Creative Problems: The Old Devils, Difficulties with Girls, The Folks That Live on the Hill, and The Russian Girl 171
19. Final Creative Self-Definitions: You Can’t Do Both and The Biographer’s Moustache 196
20. Conclusions 210
21. Notes 217
22. Bibliography 255
23. Index 265