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8 of 8 people found the following review helpful:
4.0 out of 5 stars
A great "success" on Amis' part..., April 29, 2000
Let me just say that Martin Amis is probably not for everyone. His ecceedingly dark meditations on British Middle Class issues (think of it as the dark side to Jane Austen) may be either too disturbing or totally irrelevant to some readers. But for those who go in for dark irony in thick layers, and carefully constructed narratives, Amis is probably for you. *Success* chonicles a pivotal year in the life of foster brothers. Terry Service, a "yob", as well as a compelling, gittering pile of neuroses, self-hatred and self-pity who hasn't had sex in months is the adopted brother of Gregory Riding, rich, self-assured, attractive and completely heartless. Terry was adopted after watching his father kill his sister. Add to the antagonistic brew of the two "brothers", unreliable first-person accounts of the year, a decidedly insane sister and some rather biting role reversal, and the book turns out to be a real treat. It's fairly clear early on what is going to happen in the course of the novel, at least in the grand scheme of things, if not in the minutiae of the plot details. It's still a fun ride to watch Amis pull off the expected with incredible panache and some unexpected turns. Trust me, get through the first two chapters and continue reading, it's definitely worth it. What's also interesting is to read Amis' *MONEY* after reading this book. The main character in *MONEY* is like a mix of Terry and Greg (if that were imaginable). *SUCCESS* is a good introduction to the aesthetics of Amis, after this read *MONEY* or *THE INFORMATION*. Then you'll probably be ready for *LONDON FIELDS*.
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8 of 9 people found the following review helpful:
5.0 out of 5 stars
an occasional masterpiece, October 1, 2003
Amis excells at playing nasty tricks on his readers, and "Success" is in many ways an emotional con game. As with all works of satire, the ultimate purpose of the novel is didactic. When "Success" works well (ie, when a reader is enough of a "sucker" to buy into Amis' conceit) it is a meditation on the ways we can be misled by pity, an audience-participation demonstration of the fallability of human sympathy. As such, it's a remarkably thought-provoking read. That said, the success of "Success" is largely based on reader manipulation. There are a number of reasons why Amis' technique might not work for a particular reader - for instance, if they are easily offended, or if they don't find Amis' brand of humor funny, or (and this is absolutely vital) if they don't share the sympathy-for-the-underdog and corresponding lack-of-sympathy-for-the-overdog mentality upon which Amis' experiment depends. Without an emotional investment from the reader, "Success" reads as a heartlessly empty comedy, rife with cliche, riddled with needless sexism, racism, and homophobia, and featuring characters unique only in their dislikability. Once transformed by the gullability of the reader, however, "Success" becomes a fascinating and enlightening study of contemporary human nature.
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5 of 5 people found the following review helpful:
5.0 out of 5 stars
Hilarious, intensely moving, gothic coming of age novel, October 15, 1998
By A Customer
There is in the life of every man a year which is entered as a confused adolescent and is ended either as an independent fully formed adult, or as a broken human being. Promise, as perceived by others, has very little to do with the outcome. Promise, as perceived by the adolescent himself is also not the determining factor. Amis argues that what ultimately forms the man is the ability to cope with adversity and choose the few avenues that lead somewhere (not necessarily somewhere special), rather than be side-tracked into a dead-end by the need for transient success. From the first sentence this book keeps the reader riveted and directly involved. Every one of the twelve chapters, one for each month of that formative year, consists of two parts, a first part in which Terry Service tells the reader what is going on in his life and a second part in which his foster brother Gregory Riding takes his turn. The two compete fiercely for the reader's approval and understanding. Terry, insecure and convinced that he is marked for failure, tries to avoid, or at least delay, the disaster he assumes to be his inevitable lot. He succeeds and makes it into a sustainable, if not particularly exciting adulthood. Gregory, ever the spoiled brat and outright psychopath, lies to and deceives everyone including himself until that inevitable moment when everything in his life unravels fast and he runs home only to be faced with his family's financial bankruptcy and his father's death. Murders, suicide and incest give a gothic aura to the tale, but then no one should underestimate the horrors of that metamorphosis whereby the adult human male is formed. Yet the whole thing is made bearable by the protagonists' remarkable sense of humor and by a healthy dose of cynicism and denial. In places the book is hilariously funny, Terry's dialogue with his penis, for one. In other places it is intensely moving, particularly when under all the sibling rivalry, deception and envy, we see traces of decency and ultimately of genuine affection between the two foster brothers. This is a marvelous book and one cannot fail but notice that it would make a great movie. Leonardo DiCaprio and Joaquin Phoenix were clearly meant to star as Gregory and Terry. But then, who in Hollywood takes my advice? END
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