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• W337249944 abstract "Abstract Upon occasion evaluated dismissively as mere pop novel, and thus unworthy of serious academic response, Martin Amis's Night Train nonetheless provides remarkably effective tool for introducing postmodernist notions in general literature classrooms. ********** Commonplace in theory has been the assumption that novels allow for particularly emphatic experience since they are read in waves, cycles, over multiple sittings, and as developing whole. D. H. Lawrence aptly surmised novels allow readers not merely to observe but somehow to develop an instinct for life (538). His notion, I believe, yet obtains, even in our own brevity-besotted era. What is more, simply because of the genre's demand for negotiation[]in both time and mind[]the novel remains handy classroom tool. As an instance, I have found assigning Martin Amis's short novel Night Train an effective means of introducing postmodern notions to students registered in survey courses[]many of these students having arrived in search of general humanities credit. little book's demand that students pretend to live the narrative allows me to invite them, in turn, to approach notions sufficiently complex that they might otherwise, I fear, flee. Debate persists regarding appropriate definitions for the postmodern. I try to begin with basics. For example, critics do seem to agree that at the heart of the matter lies, what one recent handbook names succinctly a general skepticism towards previous distinctions and certainties (Brooker 175). Mark Currie argues that, at its heart, the postmodern recognizes that previously respected meta-narratives, or all-encompassing cultural tales, are merely narratives (109). Madan Sarup reminds that this line of thinking usually is directly allied with the vocabulary and theorizing of Jean-Francois Lyotard, who warns that (older) master narratives no longer function to unify contemporary society, having lost their power in the explosion of political and technological complexities that dominated the century just closed (137). As result, Currie observes, postmodern cultures experience an elevation of the particular, of the fragmentary little narrative, and lively countering of universal ideologies with politics that are local (109). Lyotard sums, for the postmodern world the grand narrative has lost its credibility (37). Focusing on one aspect of such diverse process as the postmodern has risks. Moreover, theorists like Hans Bertens have exposed the difficulties in applying Lyotard's thinking without fully acknowledging its philosophical context (see, e.g., Bertens' chapter The 1980s: Theorizing the Postmodern Condition). However, in my general literature classes, this dissolution of the metanarrative has proven fine place at least to start, and Amis's novel has been my wedge in the door. At first blush, Night Train appears sort of inviting crossbreed, joining the traditional procedural novel with characters and dark moods readers might more readily associate with noir fiction or contemporary genre like the prime-time cop show (Gleick). Significantly, too, Amis has presented story played out upon deeply American cultural stage. Interviewed, Amis admits as much, calling his book 'an American document (Miller). Mind, some critics have quarreled with the authenticity of Amis' reproduction of American idiom (see, e.g., Foreman), but, most of the time, readers in my classes find the novel an inviting read and, more importantly, worth arguing about. Students have returned from spring break complaining Amis interfered with their beach time: they couldn't put the book down. Night Train, as well, presents recognizable plot device: the first-person confession of cop who reflects on daunting case. Students have heard the like. officer in question sports moniker apt for an American procedural--Mike Hoolihan--and shares the procedural hero's usual affection for the rituals of gathering evidence. …" @default.
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• W337249944 date "2003-06-22" @default.
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• W337249944 title "Night Train's Dark Lesson" @default.
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