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25 of 27 people found the following review helpful:
5.0 out of 5 stars
Through a whisky glass, darkly, August 12, 2001
In the early 1970s Amis seemed to be looking for a new direction. His initial series of comedies (_Lucky Jim_ and its successors in broadly similar mode) had begun bringing in diminishing returns, at least in terms of critical attention and sales. And later, in the 1980s, Amis found a different kind of form with _The Old Devils_ and his last books. But at more or less the mid-point in his career Amis experimented with a series of genre novels. Of this series _The Alteration_ was science fiction (an alternate-worlds story in which the Reformation never happened), _The Riverside Murders_ is more or less in the English murder mystery tradition (that is, there is more interest in the puzzle than in the US crime novel, but at its best the English whodunnit is also more likely to give us human characters rather than groteques). _The Green Man_ is the last and most successful of the series, and is in the horror genre. As a horror story "The Green Man" offers only mild chills, but its other rewards are substantial. It's a portrait of Maurice Allingham, drinker, womaniser and host of The Green Man, an English hotel with a fine table, excellent wine list, and a couple of picturesque ghosts, though with no recent sightings. Maurice is both cynical and observant, yet he misses much of what is important of what goes on around him. The things he misses include sinister stirrings around him that indicate that the supernatural elements around him have not been so much extinct as dormant, and are now reawakening. More importantly he fails to observe almost everything of importance about those who are closest to him, his long(ish) suffering wife, his lonely, resentful teenage daughter, and his son, who has already moved on from him. Though we are invited to see through Allingham's eyes, we are also given a portrait of Allingham, a man who has gone a long way on charm but is finding that trait not enough, any more, to stave off the consequences of various kinds of misbehaviour. With women he finds that they are still prepared to bed him, but they no longer seem to like him much. With his drinking he finds he can still lie to his doctor, but he cannot deny - at least to himself - the danger signs: shakes, mild strokes, visual and auditory hallucinations. And his teenage daughter still resents his absense from her life; but she is coming close to not minding any more. Some critics have missed the strength and trenchancy of Amis' critique of his male narrators. Amis is often accused of misogyny for portrayals such as the women in "The Green Man", when in fact it is principally the narrator who Amis is mocking, not the women the narrator comments on. This is the book that contains the famous "threesome" scene, in which the two women participants soon lose interest in the male narrator who believes he set up the scene. Maurice tries and fails to attract at least some attention, find a spare limb to involve himself with, and eventually gives up and gets dressed. The scene has been misread from time to time; it is probably not intended as a portrait of what Amis thinks must inevitably happen in a threesome, but rather a comic come-uppance for a character whose extreme selfishness, sexual and otherwise, is well delineated. Both women then leave Maurice for good, showing in doing so considerably more strength or moral dignity than Maurice has yet managed. (There is a redemption, of sorts, towards the end of the book, when his attention is finally focussed, almst too late, on his daughter.) But Amis is, in most of his career (_Jake's Thing_ and _Stanley and the Women_ being exceptions) a more painful critic of male behaviour than of female. Amis' use of the darker English folklore - the "Green Man" and "Thomas Underhill" myths - are also interestingly sinister. And the portrayal of "God" as a slightly camp, terribly urbane young man is one that has been hugely influential - in an unacknowledged way - in popular culture since "The Green Man" appeared. By the way I think it clear that the supernatural events are "real". Maurice is not given his shakes and hallucinations to indicate that he is an unreliable observer in the manner of Henry James' governess in "The Turn of the Screw". The contrast is pointed, in fact, with an entertaining parody of James' prose style in the book. It is clear that Maurice does not "see things" in that sense or to quite that extent (in fact his trouble is that he does _not_ see things). Rather, Maurice's shakes, voices and palpitations mean that he will not be believed by his family, and he is forced to deal with things on his own. This is a very fine comic novel, with mild horror and (as often with Amis) a little more depth than it pretends to. Cheers! Laon
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by M.R. James
by Kingsley Amis
by Shirley Jackson
See all 31 books citing this book
