MartinAmis, one of the most influential writers in contemporary literature written in English, has died at the age of 73. One can say that his death has left a void in the world of writing that will never be filled. His books will always remind us of his strong writing style and unique voice. But what does it mean to mourn a writer of this calibre? He has carved out a place for himself in that eternal realm where writers can continue their cultural lives unhindered even after they are dead. Perhaps, it is futile to mourn the passing of his physical body. He will remain alive culturally.

Martin Amis had the panache of a polemicist and was not afraid to take on difficult topics or stir up controversy. His writing was known for its dark humour, razor-sharp wit and bold examinations of cultural and political landscapes, all of which were infused with a deep knowledge of human psychology. His playground was the English language. He could twist it into new, shocking and exciting forms like no one else.

His first important work, The Rachel Papers, published in 1973, won the Somerset Maugham Award and set the stage for his later work on social norms and individual disappointment.

The Rachel Papers came out in 1973. It set the stage for a writing career that would be anything but ordinary. A typical Amis main character is intellectually advanced, morally confused and often bored with life.

The story, partly based on the author’s life, is about Charles Highway, an intelligent but self-conscious boy on the verge of turning twenty. While he studies for his tests to get into Oxford, he also plans how to seduce Rachel, an older woman. He keeps a detailed log of the process, which reflects academic rigour.

Charles Highway’s early maturity and moral ambiguity, as well as the way his analytical mind often clashes with the messiness of human feelings, set the stage for many of his later heroes. Amis’s uncanny understanding of the human condition shows through in these troubled characters. In his later work, he would dive deeper into troubled subjectivities.

Martin Amis walked a path which he had carved for himself as a writer and how he wrote about the cultural landscape that he explored was a source of inspiration for countless readers worldwide.

Even though The Rachel Papers is less well-known internationally than some of Amis’s later works, it was the book that announced the arrival of a major literary voice. It showed readers his distinct narrative style, a potent mix of sarcasm and humour, and a keen understanding of the human condition. It is a great book that shows Amis’s talent as a writer, which he would display throughout his long and successful career. When Amis reread his first book after many years, he was very critical of it. He said, “A first novel is about energy and originality, but this one looks so simple to me now.” I don’t mean bad words, but it’s put together so poorly.” This is quintessential Amis. He was hard on himself when he looked at his first attempt at writing a novel. He explained his maturity as a writer, “As you get older, your craft, the way you know what goes where and when, gets much sharper.” And he was not happy with his first novel.

Money (1984) and London Fields (1989) were the books in which his unique style came out the best. These books showed how sharp Amis’s wit was at making fun of the worst parts of late 20th-century Western society while also giving a critical analysis.

In the following years, Amis kept producing work that tested the limits of morals and socially manufactured decency and brought to light the darkness hiding under the thin veneer of civilisation. House of Meetings, set in a gulag in Stalin’s time, and Time’s Arrow, about the Holocaust, showed that he wanted to examine the worst things humans can inflict on one another. He could analyse these things from an unsettling perspective.

As an essayist, Amis used his moral acuity to dissect everything – from sports and society to literature and politics. His writings and reviews, which were collected in books like The Moronic Inferno: And Other Visits to America, showed how sarcastic he could be about American society. His memoir, Experience, was deeply personal and introspective. It allowed readers to see the person behind the typewriter.

Martin Amis walked a path which he had carved for himself as a writer and how he wrote about the cultural landscape that he explored was a source of inspiration for countless readers worldwide.

It is sad that a writer of this calibre has died, but one can also celebrate the departure of a person who lived many lives in one lifespan. The literary legacy he left behind will be around for centuries. His fierce intelligence and combative spirit have left an indelible mark on the world of letters. His work will keep him culturally alive. It will continue to challenge, provoke and entertain us.

The writer teaches literature and critical theory at the University of Lahore. He may be reached at saeed@saeedurrehman.com