Authors & Events
Apr 03, 1991
| ISBN 9780679730347
Nov 04, 2014
| ISBN 9780375712524
Aug 24, 2010
| ISBN 9780307743978
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Apr 03, 1991 | ISBN 9780679730347
Nov 04, 2014 | ISBN 9780375712524
Aug 24, 2010 | ISBN 9780307743978
London Fields is Amis’s murder story for the end of the millennium—“a comic murder mystery, an apocalyptic satire, a scatological meditation on love and death” (The New York Times).The murderee is Nicola Six, a “black hole” of sex and self-loathing intent on orchestrating her own extinction. The murderer may be Keith Talent, a violent lowlife whose only passions are pornography and darts. Or is the killer the rich, honorable, and dimly romantic Guy Clinch?Here, Amis is “by turns lyrical and obscene, colloquial and rhapsodic.” —Michiko Kakutani
Martin Amis’s acclaimed novel—now in a twenty-fifth-anniversary hardcover edition—is a blackly comic murder mystery about a murder that has not yet happened. First published in 1989, LONDON FIELDS is set ten years into a dark future, against a backdrop of environmental and social decay and the looming threat of global cataclysm. As the dreaded millennium approaches, Nicola Six, a “black hole” of sex and self-loathing, attempts to orchestrate her own extinction, choosing her thirty-fifth birthday, November 5, 1999, as the date of her murder. Whom to manipulate into killing her is the question; her choice wavers between violent lowlife Keith Talent, who is obsessed with winning a darts tournament, and a dimly romantic banker named Guy Clinch. When Samson Young—a writer suffering from a long bout of writer’s block—stumbles upon these three, he believes he has found a story that will write itself. A highly unusual mystery with an unexpected twist at the end, LONDON FIELDS is also a corrosively funny narrative of pyrotechnic complexity and scalding moral vision.
MARTIN AMIS is the author of fourteen previous novels, the memoir Experience, two collections of stories, and seven nonfiction books. He lives in Brooklyn.
“A comic murder mystery, an apocalyptic satire, a scatological meditation on love and death and nuclear winter…by turns lyrical and obscene, colloquial and rhapsodic.” —Michiko Kakutani, The New York Times
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