A 178 page romp of revenge, pacts and despicable characters. I review Amsterdam by Ian McEwan
Amsterdam – the blurb
Two old friends – Cline Linley and Vernon Halliday – meet at the funeral of gorgeous, witty Molly Lane. Both men had been Molly’s lovers years before their dazzling success; Clive is Britain’s most eminent modern composer and Vernon is the editor of the respected broadsheet, The Judge. In the weeks that follow, Clive and Vernon’s lives become bound together in ways neither could have imagined. Two dubious moral decisions and a pact made in extremis lead them both to the heart of Amsterdam.
Why Amsterdam?
On starting the book I was reminded initially of Ali Smith’s Spring and the characters of the recently departed Paddy and her lover Richard. Amsterdam starts with the death of Molly, her funeral attended by at least three of her ex lovers. What follows is a pact made by two of the said lovers and their descent to its culmination. One fitting for those brazen enough to attend an ex lover’s funeral and make a point of speaking to the deceased’s husband.
The characters are unlikeable, (although I would liked to have read more about Molly) and the book is very much a snap shot of its time, and place. London’s newsrooms in the 1990s, the political circles and the taking down style of journalism. It all gives off a very seedy overtone. Fitting then that the book ends in Amsterdam, the city of sex, drugs and dark deeds.
Having read The Children Act recently as well as a controversial plot it too featured music quite heavily. For a book of such few pages McEwan devoting so many words to Clive’s Millennium composition made a statement. His piece was destined to always remain imperfect and underdeveloped. At under 200 pages there was a risk Amsterdam would be the same but I enjoyed it and think McEwan pulls it off. The Booker Prize panel clearly did too awarding it the title in 1998.
