Amsterdam

Winner of the 1998 Booker Prize
A Globe and Mail Notable Book of 1998

On a chilly February day, two old friends meet in the throng outside a London crematorium to pay their last respects to Molly Lane. Both Clive Linley and Vernon Halliday had been Molly's lovers in the days before they reached their current eminence: Clive is Britain's most successful modern composer, and Vernon is editor of the newspaper The Judge. Gorgeous, feisty Molly had other lovers, too, notably Julian Garmony, Foreign Secretary, a notorious right-winger tipped to be the next prime minister.

In the days that follow Molly's funeral, Clive and Vernon will make a pact with consequences that neither could have foreseen. Each will make a disastrous moral decision, their friendship will be tested to its limits, and Julian Garmony will be fighting for his political life. A sharp contemporary morality tale, cleverly disguised as a comic novel, Amsterdam is "as sheerly enjoyable a book as one is likely to pick up this year" (The Washington Post Book World).

"By far his best work to date...an energizing tightrope between feeling and lack of feeling, between humanity's capacity to support and save and its equally ubiquitous penchant for detachment and cruelty." The San Diego Union-Tribune

"Ian McEwan has proven himself to be one of Britain's most distinct voices and one of its most versatile talents....Chilling and darkly comic." Chicago Tribune

"Beautifully spare prose, wicked observation, and dark comic brio." The Boston Globe

"A well-oiled machine....Ruthless and amusing." The New York Times Book Review

"A dark tour de force...perfectly fashioned." Michiko Kakutani, The New York Times

"McEwan writes the sort of witty repartee and scathing retort we wished we thought of in the heat of battle. On a broader scale, McEwan's portrayal of the mutually parasitic relationship between politicians and journalists is as damning as it is comic." The Christian Science Monitor

"[McEwan's] ingenious conte cruel possesses the lightness of touch and split-second plotting of an operetta....There is no huffing and puffing, no waste, no mess. Every sentence carries the fugue-like plot forward to the final catastrophe." Michael Dirda, The Washington Post Book World

"[M]ordantly clever — but ultimately too clever for its own good....[W]hen...McEwan manipulates the plot to achieve a less than credible symmetry, it is obvious that, despite the Booker recognition, this is far from McEwan's best novel." Publishers Weekly

"Like other...McEwan novels, Amsterdam is a good thing in a small package: pungent, philosophical and beautifully written." Ben Greenman, Time Out New York

"Mr. McEwan writes a distinctively unadorned prose that speeds the reader along, but slows every so often for a layered, luxuriant image." Daphne Merkin, The New Yorker

"A study of the fragility of life — with its capacity for joy, genius, loss and betrayal...a captivating pleasure." The Wall Street Journal

The wickedly comic Booker Prize winner. On a chilly February day, two old friends meet in the throng outside a crematorium to pay their last respects to the woman who had been a lover to both of them. In the days that follow the funeral, Clive and Vernon will make a pact that will have consequences that neither man could have foreseen.

The Booker Prize-winning contemporary morality tale cleverly disguised as a comic novel from the acclaimed author of Atonement.
On a chilly February day, two old friends meet in the throng outside a London crematorium to pay their last respects to Molly Lane. Both Clive Linley and Vernon Halliday had been Molly's lovers in the days before they reached their current eminence: Clive is Britain's most successful modern composer, and Vernon is a newspapereditor.Gorgeous, feisty Molly had other lovers, too, notably Julian Garmony, Foreign Secretary, a notorious right-winger tipped to be the next prime minister. In the days that follow Molly's funeral, Clive and Vernon will make a pact with consequences that neither could have foreseen "

Ian McEwan has written two collections of short stories — First Love, Last Rites and In Between the Sheets — as well as seven novels: The Cement Garden, The Comfort of Strangers, The Child in Time, The Innocent, Black Dogs, The Daydreamer, and most recently, Enduring Love.

1. Talk about the tone of this novel. Is it ironic? Humorous? Menacing?

2. Think about Clive and Vernon and your feelings about each at different stages of the novel. Did those feelings change? If so, at what key points?

3. In a relatively short novel, the author devotes many pages to Clive's creative process. What do you think of the author's description of the process itself and of his decision to give it so much space?

4. At one early point in the novel, Vernon Halliday thinks this about himself, "[H]e was infinitely diluted; he was simply the sum of all the people who had listened to him, and when he was alone, he was nothing at all." Discuss this prescient statement, in light of Vernon's fate.

5. Discuss the role of lucky (and unlucky) coincidence in the novel: Vernon's rise in his profession due to "Pategate" or the story in the Judge about euthanasia in Holland that leads Clive and Vernon there.

6. Talk about the author's skill in showing the workplace; the composer's process and studio; the newspaper editor's office.

7. This novel is funny—the Siamese twins story, the sub-editor who could not spell—talk about the role of humor in the novel.

8. At different points in the novel, both Clive and Vernon think that Clive has given more to their friendship than Vernon has. Talk about the form and course of their friendship. Can friendships ever be equal?

9. The author suggests that years and success narrow life. Is this true to your experience?

10. The author withholds information throughout the novel, offering bits that are only fully developed later (the photographs of Garmony, the importance of the "medical scandal in Holland"). Talk about the author's use of suspense.

11. How shaky is Clive's moral foundation? Should he be allowed to condemn his fellow artists who "assume the license of free artistic spirit" and renege on commitments, even as Clive ignores the plight of a woman he witnesses being attacked?

12. Vernon wants to crucify Garmony for the greater good of the republic. Is this ever a valid reason to go after a politician? Do you agree with Clive that Vernon is betraying Molly's trust? Or do you side with Vernon in his wish to stop a vile leader from gaining power?

13. Talk about the parallels between the fictional political scandal the author creates and the real one that has occupied Washington, D.C., for the past year. Is the author commenting on U.S. politics and media with this novel?

14. Is everybody in Amsterdam a hypocrite?

15. Clive thinks he's a genius. How do you define genius? Does Clive fit the definition?

16. Talk about Molly and the importance of her role in the novel. Are there other examples in literature of characters who carry great weight and importance even though they never appear?

17. At Allen Crags where Clive watches the woman and man struggle, the author writes, "Clive knew exactly what it was he had to do....He had decided at the very moment he was interrupted." Was there any question in your mind at that point about what Clive's decision was? Were you correct?

18. What do you make of the author's choice to have Clive die happy, that is, unaware that he's been poisoned, but to have Vernon grasp in his last seconds "...where he really was and what must have been in his champagne and who these visitors were."

Ian McEwan's Booker Prize-winning novel Amsterdam showcase the author's range and skill as he delivers unlikely, and welcome, combinations of suspense, ethics, philosophy, and political and religious ideology. In lesser hands, such a mix might be lethal. In McEwan's, it's intoxicating.