Kingsley Amis: Antimodels and the Audience

Cover\nTitle\nCopyright\nContents\nFigures\nAcknowledgments\nIntroduction\nPart One: 1946–1969: Exposing Flaws in Antimodels and Formative Influences\n	1 Exploring Critical Misinterpretations and the Roots of Antimodels\n	2 Lessons of The Legacy, a Comparison with Wain, and the Development of a Narrative Voice in Lucky Jim\n	3 Defining the Self: Writing Against Dylan Thomas and Philip Larkin in That Uncertain Feeling\n	4 Lessons in Storytelling: Graham Greene, Modernism, and I Like It Here\n	5 Experiments in Content: William Empson, Ambiguity, and Take a Girl Like You\n	6 Evelyn Waugh, Charles Algernon Swinburne, and Englishness in One Fat Englishman\n	7 Limitations of the Provincial Aesthetic in Amis’s Poetry: Witnesses, Moral Provocateurs, and The Evans Country\n	8 New Reasons to Write: Entertainment and the Inner Audience in The Egyptologists, The Anti-Death League, and I Want It Now\nPart Two: 1969–1995: Towards Reciprocity and Balance\n	9 Looking into the Artistic Future: The Green Man, Girl, 20, Ending Up, and The Alteration\n	10 Problems with Language and Balance: Jake’s Thing, Stanley and the Women, and Russian Hide-and-Seek\n	11 Resolving Creative Problems: The Old Devils, Difficulties with Girls, The Folks That Live on the Hill, and The Russian Girl\n	12 Final Creative Self-Definitions: You Can’t Do Both and The Biographer’s Moustache\nConclusions\nNotes\nBibliography\nIndex\n	A\n	B\n	C\n	D\n	E\n	F\n	G\n	H\n	I\n	J\n	K\n	L\n	M\n	N\n	O\n	P\n	Q\n	R\n	S\n	T\n	V\n	W\n	Y\n	Z