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Ian McEwan

Amsterdam

Editorial Reviews 

When good-time, fortysomething Molly Lane dies of an unspecified degenerative illness, her many friends and numerous lovers are led to think about their own mortality. Vernon Halliday, editor of the upmarket newspaper the Judge, persuades his old friend Clive Linley, a self-indulgent composer of some reputation, to enter into a euthanasia pact with him. Should either of them be stricken with such an illness, the other will bring about his death. From this point onward we are in little doubt as to Amsterdam’s outcome—it’s only a matter of who will kill whom. In the meantime, compromising photographs of Molly’s most distinguished lover, foreign secretary Julian Garmony, have found their way into the hands of the press, and as rumors circulate he teeters on the edge of disgrace. However, this is McEwan, so it is no surprise to find that the rather unsavory Garmony comes out on top. Ian McEwan is master of the writer’s craft, and while this is the sort of novel that wins prizes, his characters remain curiously soulless amidst the twists and turns of plot

Amazon.com 

[In Amsterdam] are the simple pleasures of reading a writer in complete command of his craft, a writer who has managed to toss off this minor entertainment with such authority and aplomb that it has won him the recognition he has so long deserved.

The New York Times, Michiko Kakutani.

I

1

Two former lovers of Molly Lane stood waiting outside the crematorium chapel with their backs to the February chill. It had all been said before, but they said it again.

“She never knew what hit her.”

“When she did it was too late.”

“Rapid onset.”

“Poor Molly.”

“Mmm.”

Poor Molly. It began with a tingling in her arm as she raised it outside the Dorchester Grill to stop a cab—a sensation that never went away. Within weeks she was fumbling for the names of things. Parliament, chemistry^ propeller she could forgive herself, but less so bed, cream, mirror. It was after the temporary disappearance of acanthus and bresaiola that she sought medical advice, expecting reassurance. Instead, she was sent for tests and, in a sense, never returned. How quickly feisty Molly became the sickroom prisoner of her morose, possessive husband, George. Molly, restaurant critic, gorgeous wit, and photographer, the daring gardener, who had been loved by the foreign secretary and could still turn a perfect cartwheel at the age of forty-six. The speed of her descent into madness and pain became a matter of common gossip: the loss of control of bodily function and with it all sense of humor, and then the tailing off into vagueness interspersed with episodes of ineffectual violence and muffled shrieking.

It was the sight now of George emerging from the chapel that caused Molly’s lovers to move off farther up the weedy gravel path. They wandered into an arrangement of oval rose beds marked by a sign, THE GARDEN OF REMEMBRANCE. Each plant had been savagely cut back to within a few inches of the frozen ground, a practice Molly used to deplore. The patch of lawn was strewn with flattened cigarette butts, for this was a place where people came to stand about and wait for the funeral party ahead of theirs to clear the building. As they strolled up and down, the two old friends resumed the conversation they had had in various forms a half-dozen times before but that gave them rather more comfort than singing “Pilgrim.”

Clive Linley had known Molly first, back when they were students in ’68 and lived together in a chaotic, shifting household in the Vale of Health.

“A terrible way to go.”

He watched his own vaporized breath float off into the gray air. The temperature in central London was said to be twelve degrees today. Twelve. There was something seriously wrong with the world for which neither God nor His absence could be blamed. Man’s first disobedience, the Fall, a falling figure, an oboe, nine notes, ten notes. Clive had the gift of perfect pitch and heard them descending from the G. There was no need to write them down.

He continued, “I mean, to die that way, with no awareness, like an animal. To be reduced, humiliated, before she could make arrangements, or even say goodbye. It crept up on her, and then…”

He shrugged. They came to the end of the trampled lawn, turned, and walked back.

“She would have killed herself rather than end up like that,” Vernon Halliday said. He had lived with her for a year in Paris in ’74, when he had his first job with Reuters and Molly did something or other for Vogue.

“Brain-dead and in George’s clutches,” Clive said.

George, the sad, rich publisher who doted on her and whom, to everyone’s surprise, she had not left, though she always treated him badly. They looked now to where he stood outside the door, receiving commiseration from a group of mourners. Her death had raised him from general contempt. He appeared to have grown an inch or two, his back had straightened, his voice had deepened, a new dignity had narrowed his pleading, greedy eyes. Refusing to consign her to a home, he had cared for her with his own hands. More to the point, in the early days, when people still wanted to see her, he vetted her visitors. Clive and Vernon were strictly rationed because they were considered to make her excitable and, afterward, depressed about her condition. Another key male, the foreign secretary, was also unwelcome. People began to mutter; there were muted references in a couple of gossip columns. And then it no longer mattered, because the word was she was horribly not herself; people didn’t want to go and see her and were glad that George was there to prevent them. Clive and Vernon, however, continued to enjoy loathing him.

As they turned about again, the phone in Vernon’s pocket rang. He excused himself and stepped aside, leaving his friend to proceed alone. Clive drew his overcoat about him and slowed his pace. There must have been over two hundred in the black-suited crowd outside the crematorium now. Soon it would seem rude not to go over and say something to George. He got her finally, when she couldn’t recognize her own face in the mirror. He could do nothing about her affairs, but in the end she was entirely his. Clive was losing the sensation in his feet, and as he stamped them the rhythm gave him back the ten-note falling figure, ritar-dando, a cor anglais, and rising softly against it, contra-puntally, cellos in mirror image. Her face in it. The end. All he wanted now was the warmth, the silence of his studio, the piano, the unfinished score, and to reach the end. He heard Vernon say in parting, “Fine. Rewrite the standfirst and run it on page four. I’ll be there in a couple of hours.” Then he said to Clive, “Bloody Israelis. We ought to wander over.”

“I suppose so.”

But instead they took another turn about the lawn, for they were there, after all, to bury Molly.

With a visible effort of concentration, Vernon resisted the anxieties of his office. “She was a lovely girl. Remember the snooker table?”

In 1978 a group of friends rented a large house in Scotland for Christmas. Molly and the man she was going about with at the time, a QC named Brady, staged an Adam and Eve tableau on a disused snooker table, he in his Y-fronts, she in bra and panties, a cue rest for a snake and a red ball for an apple. The story handed down, however, the one that had appeared in an obituary and was remembered that way even by some who were present, was that Molly “danced naked on Christmas Eve on a snooker table in a Scottish castle.”