1. Frank Kermode, "A Thriller With Something on its Mind," The Atlantic Monthly, February 1998.
2. James Diedrick, Understanding Martin Amis, p. 5.
3. Eric Jacobs, Kingsley Amis, A Biography, pp. 344-5. This quotation comes from one of the many letters Amis wrote to Robert Conquest, in which he revealed "his sharpest and most abrasive opinions."
4. Brian Appleyard, "The Entertainer in Old Age," from Dale Salwak (ed.), Kingsley Amis in Life and Letters, p. 3.
5. Ibid.
6. Malcolm Bradbury, The Modern British Novel, p. 389.
7. William Van O’Connor, The New University Wits, p. 99.
8. Will Self draws a comparison between Martin Amis and Evelyn Waugh,  observing that both write of "a world in which we’ve fallen from grace" ("An Interview With Martin Amis," The Mississippi Review 21:3; quoted here from http://sushi.st.usm.edu/mrw/07oct/07amis.html). .
9. Malcolm Bradbury, No, Not Bloomsbury, p. 206.
10. James Diedrick, Understanding Martin Amis, p. 4.
11. Ibid.
12. Eric Jacobs, Kingsley Amis, A Biography, p. 345.
13. Norman Macleod, "The Language of Kingsley Amis," from Dale Salwak (ed.) Kingsley Amis, in Life and Letters, p. 116.
14. Malcolm Bradbury, The Modern British Novel, p. 315.
15. Rubin Rabinovitz, The Reaction Against Experimentation in the English Novel, 1950-1960, p. 9.
16. Ibid. p. 39, taken from an article written by Amis which appeared in The Spectator, November 1959.
17. David Lodge, an introduction to the 1992 Penguin edition of Lucky Jim, p. vi.
18. Norman Macleod, "The Language of Kingsley Amis," from Dale Salwak (ed.) Kingsley Amis, in Life and Letters, p.116. Here Macleod quotes from David Hughes, "Amis Hits the Mark," from Mail On Sunday 25^th Sep. 1988; and Martin Cropper, "Babyish Jingles," Weekend Telegraph 24^th Sep. 1988.
19. "The Two Amises," Listener, 15^th Aug. 1974; here quoted from Norman Macleod, "The Language of Kingsley Amis," from Dale Salwak (ed.) Kingsley Amis, in Life and Letters, p. 117.
20. With reference to the work of Ihab Hassan, Connor writes: "the postmodernist transformation, or advance, can be seen as a selective intensification of certain tendencies within modernism itself," Postmodern Culture, p. 109.
21. Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism and Theory, p. 186.
22. John Mepham, "Narratives of Postmodernism," from Edmund J. Smyth (ed.) Postmodernism and Contemporary Fiction, pp. 144-5.
23. Richard Todd, Consuming Fictions, The Booker Prize and Fiction in Britain Today, p. 155.
24. James Diedrick, Understanding Martin Amis, p. 6.
25. Kingsley Amis, Take A Girl Like You: "Its door had another little brass knocker on it, this time representing a religious looking person on a donkey" (p. 15).
26. Kingsley Amis, Memoirs, p. 248.
27. Rubin Rabinovitz, The Reaction Against Experimentation in the English Novel, 1950-1960, pp. 43-4.
28. John Mepham, "Narratives of Postmodernism," from Edmund J. Smyth (ed.), Postmodernism and Contemporary Fiction, p. 138.
29. Randall Stevenson, "Postmodernism and Contemporary Fiction in Britain," from Edmund J. Smyth (ed.) Postmodernism and Contemporary Fiction, p. 27.
30. Eric Jacobs, Kingsley Amis, A Biography, p. 345.
31. Mira Stout, ‘Down London’s Mean Streets’, The New York Times Magazine, 4^th Feb. 1990, here quoted from Victoria N. Alexander, "Between the Influences of Bellow and Nabokov," The Antioch Review, Autumn 1994 or at http://www.dactyl.org/amis.html
32. Martin Amis, Money, p. 353.
33. Martin Amis, from an interview with Victoria N. Alexander, ‘Between the Influences of Bellow and Nabokov’, The Antioch Review, Autumn 1994 or at http://www.dactyl.org/amis.html
34. Merritt Moseley, Understanding Kingsley Amis, p. 11.
35. Victoria N. Alexander, ‘Between the Influences of Bellow and Nabokov’, The Antioch Review, Autumn 1994 or at http://www.dactyl.org/amis.html
36. Martin Amis, Dead Babies, p.162.
37. Martin Amis, London Fields, p.160.
38. Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge. (trans. Geoff Bennington and Brian Massumi), p. 77.
39. Martin Amis, in interview with David Aaronovitch, for Booked, Channel 4 Television.
40. James Diedrick, Understanding Martin Amis, p.13; Richard Todd, Consuming Fictions, The Booker Prize and Fiction in Britain Today, p.193; A. Walton Litz "Modernist Making and Self Making," TLS, Oct. 1986 here quoted from Randall Stevenson; "Postmodernism and Contemporary Fiction in Britain," from Edmund J. Smyth (ed.) Postmodernism and Contemporary Fiction, p. 35.
41. Martin Amis from an interview with Will Self, The Mississippi Review 21:3; quoted here from http://sushi.st.usm.edu/mrw/07oct/07amis.html
42. Henry Fielding, Shamela, p. 15.
43. Kingsley Amis, Take A Girl Like You, p. 13.
44. Michael Groden and Martin Kreiswirth (eds.), The John Hopkins Guide to Literary Theory and Criticism, ‘POSTMODERNISM’, p. 584.
45. Eric Jacobs, Kingsley Amis, A Biography, p. 211.
46. Ibid., pp. 206/211.
47. Kingsley Amis, I Like It Here, p. 184.
48. Norman Macleod, "The Language of Kingsley Amis." from Dale Salwak (ed.) Kingsley Amis, in Life and Letters, p. 117.
49. Malcolm Bradbury, The Modern British Novel, p.320; David Lodge, an introduction to the 1992 Penguin edition of Lucky Jim, p. vi .
50. Martin Amis, in interview, Salon 10.02.1998.
51. Martin Amis, in interview with Victoria N. Alexander, "Between the Influences of Bellow and Nabokov," The Antioch Review, Autumn 1994 or at http://www.dactyl.org/amis.html
52. Paul Fussell, "Kingsley As I Know Him," from Dale Salwak (ed.) Kingsley Amis, in Life and Letters, p. 18.
53. Consider for example Les Dawson’s apparently horrific piano recitals. He was of course a gifted pianist.
54. Martin Amis, in interview with David Flusfeder, "The Esquire Interview," Esquire magazine, v. 7, no. 8, Oct. 1997, p. 28.
55. Malcolm Bradbury, The Modern British Novel, p. 321.
56. David Lodge, Write on: Occasional Essays ‘65-’85, here quoted from Merritt Moseley, Understanding Kingsley Amis, p. 20.
57. Merritt Moseley, Understanding Kingsley Amis, p. 20.
58. Kingsley Amis, I Want It Now, p. 11.
59. Malcolm Bradbury, No, Not Bloomsbury, p. 212.
60. Kingsley Amis, I Want It Now, p. 184.
61. Malcolm Bradbury, No, Not Bloomsbury, p. 214 .
62. James Diedrick, Understanding Martin Amis, p. 11.
63. Ibid. Here Diedrick quotes Sven Birkets, "Postmodernism: Bumper-Sticker Culture," American Energies.
64. Ibid., p. 147.
65. Martin Amis, London Fields, p. 197.
66. Ibid, p. 394.
67. Ibid., p. 156.
68. Richard Todd, Consuming Fictions, The Booker Prize and Fiction in Britain Today, p.194.
69. Martin Amis, London Fields, pp. 90-91.
70. Martin Amis, Success, p. 34.
71. Ibid., p. 34.
72. Ibid., p. 224.
73. Ibid., p. 213
74. Ibid., p. 28.
75. Ibid., p. 209.
76. Ibid., p.1 38.
77. Eric Jacobs, Kingsley Amis, A Biography, p. 74.
78. Kingsley Amis, Memoirs, p. 316.
79. William Van O’Connor, The New University Wits, p. 99.
80. Martin Amis, in interview with David Aaronovitch, for Booked, Channel Four Television.
81. Ibid.
82. Martin Amis, in interview with David Flusfeder, "The Esquire Interview," Esquire magazine, v. 7, no. 8, Oct. 1997, p. 21.
83. David Lodge, The Art of Fiction, p. 111.
84. Kingsley Amis, Lucky Jim, p. 209.
85. Ibid, p. 156.
86. Kingsley Amis, I Want It Now, p. 115.
87. Martin Amis, The Rachel Papers, p. 206.
88. Martin Amis, in interview with David Aaronovitch, for Booked, Channel Four Television.
89. James Diedrick, Understanding Martin Amis, p.179.
90. Martin Amis, in interview with David Aaronovitch, for Booked, Channel Four Television.
91. Ibid.

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