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Index
Cover
Title
Copyright
Contents
Figures
Acknowledgements
Introduction
Part One 1946–1969: Exposing Flaws in Antimodels and Formative Influences
1 Exploring Critical Misinterpretations and the Roots of Antimodels
2 Lessons of The Legacy, a Comparison with Wain, and the Development of a Narrative Voice in Lucky Jim
3 Defining the Self: Writing Against Dylan Thomas and Philip Larkin in That Uncertain Feeling
4 Lessons in Storytelling: Graham Greene, Modernism, and I Like It Here
5 Experiments in Content: William Empson, Ambiguity, and Take a Girl Like You
6 Evelyn Waugh, Charles Algernon Swinburne, and Englishness in One Fat Englishman
7 Limitations of the Provincial Aesthetic in Amis’s Poetry: Witnesses, Moral Provocateurs, and The Evans Country
8 New Reasons to Write: Entertainment and the Inner Audience in The Egyptologists, The Anti-Death League, and I Want It Now
Part Two 1969–1995: Towards Reciprocity and Balance
9 Looking into the Artistic Future: The Green Man, Girl, 20, Ending Up, and The Alteration
10 Problems with Language and Balance: Jake’s Thing, Stanley and the Women, and Russian Hide-and-Seek
11 Resolving Creative Problems: The Old Devils, Difficulties with Girls, The Folks That Live on the Hill, and The Russian Girl
12 Final Creative Self-Definitions: You Can’t Do Both and The Biographer’s Moustache
Conclusions
Notes
Bibliography
Index
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