My Enemy’s Enemy by Kingsley Amis (1962)

Meanwhile I put to myself the question whether the removal of all social workers, preferably by execution squads, wouldn’t do everyone a power of good. (Moral Fibre)

Amis wrote short stories throughout his career, often experiments for, or by-products of, the longer fictions so that the Complete Short Stories is 550 pages long. This is an early collection, published in 1962, of stories from the 1950s, the first three all based on Amis’s wartime experience in the Royal Signals Corp, several others referencing characters from the contemporaneous novels, and the final one – unexpectedly – showcasing Amis’s enduring interest in science fiction.

My Enemy’s Enemy (1955) A rather complicated story about British soldiers in a wire maintenance unit during world war II. When Oxford-educated Thurston hears that a line engineer he respects, Dalessio, is being set up by the jumped-up Adjutant to fail an inspection of his rooms by the General, Thurston knows he ought to tip him off but doesn’t. In the end, Dalessio is tipped off by another officer, his quarters are spotless, the Adjutant is furious blames Thurston, despite the latter having done nothing – and feeling bad about it.

Court of Inquiry (1956) Another Army story, with some of the same characters from the Signals unit featured above. During a move from one base to another, a soldier mislays an out-of-date power charger, and his superior takes the opportunity (unnecessarily and vindictively) to hold a court of inquiry about it. This, however, fails embarrassingly when one of the witnesses admits it was his fault, not the man being blamed.

I Spy Strangers – The third Army story set in the Signals Corp and featuring some characters from the above. Starts one week before the 1945 General Election which swept Labour to power and one of the officers has set up a dummy ‘Parliament’ in which the men take sides and debate the issues at stake in the election. The issues arising here (the men ranging from Communist to proto-Fascist) become entangled with personal conflicts and resentments between seven or eight officers which, to be honest, I didn’t really follow. The story progresses to the night of the Election when it is clear Labour has won its historic landslide and this prompts a drunken confrontation between some of the officers, one of whom is knocked off the stairs, breaking his arm.

Having just read David Lodge’s first novel, The Picturegoers, with its priggish revulsion from the contemporary world (his comments on 1950s rock’n’roll are amusingly short-sighted but especially the brutality of National Service – the latter of which goes on to be the subject of his second novel, Ginger You’re Barmy) I realise that, while the young Lodge (b.1935) prissily spurns modern life, cleaving to his high-minded Catholicism and to ‘Literature’, all evinced in an oddly formal prose style, Amis (b.1922) had the impact he did because he embraced the reality of life as it was lived in the mid-1950s, and did it in the prose style, the stroppy speaking voice, of his contemporaries.

[The unit debating club] resettled itself sulkily, feeling and muttering that it was always the bloody same: the moment you got a decent row going, some pernickety sod piped up with some moan about order. Might as well be sitting in the billet reading last week’s paper. (p.56)

Why Amis was publishing stories about the weeks before the 1945 General Election, in 1955 and 1956. Was it just a question of being famous and publishable and so clearing out his backlog? Did they actually date from the 1940s? The theme of all three is the petty bureaucracy of the Army and how the military environment gives perfect scope for people to cultivate petty rivalries, jealousies and vindictiveness.

Moral Fibre (1958) John Lewis, the protagonist of The Uncertain Feeling (published three years earlier in 1953) is living in shabby digs with his wife, Jean, in the south Wales town of Aberdarcy. A friend of hers is the self-righteous social worker, Mair, and John gets dragged in to her ‘treatment’ of a local delinquent, Betty. Betty has twin kids by one man, is shacked up with another (a Norwegian sailor) and at one point, when the sailor is away, goes out on the streets as a prostitute. –Throughout the story John is driven by the characteristic bolshie male idea that Mair the social worker and all her works are awful, but is uneasily conscious that he doesn’t have any alternative. The outrageousness of his attitude and his seething dislike of Mair made me laugh out loud.

Interesting Things (1956) A short short story about young Gloria Davies from the tax office, being asked out by old Mr Huws-Evans, twice her age, on a date at a cinema. As in David Lodge’s contemporary novel The Picturegoers (1960), the cinema is depicted as a kind of Sodom of snogging couples and people stuffing their faces noisily with peanuts and sweets. Huws-Evans bores her with speeches about tax affairs, takes her back to his house so he can have a shave (there to be met by his disapproving mother), then into a park where he makes a very clumsy move to kiss her and she realises in a flash that, for all his knowledge of personal tax allowances, he is in fact an unattractive sad old man. They continue on to the swanky party he’s been invited to where she immediately takes up with a young attractive man.

The most interesting part of the story is its references to other Amis texts: to an Italian restaurant called Dalessio’s – a Dalessio whose Dad runs a restaurant in south Wales is a key character in the first story in this collection, he is the man the Adjutant tries to get dismissed; and Huws-Evans describes the party they’re going to as featuring posh folk, including a dentist with an, er, sort of friend. This must be the dentist who keeps a mistress who hangs around with the ‘fast set’ attending the parties given by Mrs Gruffydd-Williams in That Uncertain Feeling.

Glimpses like this, of interconnections of characters across novels and stories, give a pleasing (and comforting) sense of the interconnectedness of stories and – we wish – of the world.

All The Blood Within Me (1962) A gloomy story about two men aged around 64 who catch the train to a town a bit north of London, there to attend the funeral of a woman, Betty, they were both friendly with. Slowly it emerges that the mousy, unsuccessful one of the pair, Alec Mackenzie, had – he thinks – a thirty-year-long, unexpressed but deeply felt, love for Betty. At the funeral service and at the burial, Alec is transported by fond memories of her but at the wake in a nearby pub, drunk, he foolishly has a bit of a go at the Italian man who married Betty’s daughter, Annette.

This prompts Annette to follow Alec outside when he goes for a fag, and to give him a piece of her mind. She dismays him by laying into her mother, into Betty, revealing that she was a spiteful mother to her and her brother who couldn’t wait to escape home, that she disliked the Italian husband, that she disapproved of the grand-children because on their Italian blood, and that she maliciously and cruelly dangled Alec himself on a chain, all the time laughing behind his back. His saintly image of his beloved shattered, Alec is devastated.

Maybe the moral of the story is the unknowability of ‘other people, Amis’s fundamental subject.

Something Strange (1960) Out of the blue, a science fiction story. Two couples are isolated in a metal sphere millions of miles from earth. Their monotonous routine of fixing equipment has recently been interrupted by strange happenings, sightings of objects speeding towards them, the suddenly enclosing of the sphere by an unknown substance etc. I was totally captivated and in the story when…

… they see a new ‘happening’ as if a door is opening and human shapes are approaching. Who unlock the sphere and lead them out. And reveal to the dazed and uncomprehending foursome that they have been part of a long-term psychological experiment, carried out by a fiendish regime which has now been overthrown by the chaps liberating them.

Like a lot of science fiction it is powerful and disturbing in the way it directly invokes basic fears and archetypes – yet silly and superficial at the same time, in being so easily explained and resolved…


Tricks and tics

Whatever Amis’s habit of writing ‘blah blah blah or something like it‘, ‘… or something’, ‘or whatever’. Deliberate posture of shrugging his shoulders, it’s too complicated, I’m a normal-bloke-not-a-ruddy-expert.

Ordinary speech The narrating voice has the ring of ordinary speech even when that involves clumsiness and repetition. He has the confidence to write down what people actually say: not all the time, but often enough to be striking. (Compare and contrast with David Lodge’s style which is always studied, limpid, classical and often a little dead.) It is light, flexible, funny.

The first person he saw on entering the dining-car was Bob Anthony, wearing a suit that looked like woven vegetable soup. (p.141)

Tones of voice Amis is extraordinarily sensitive to tones of voice and the countless ways there are to adjust tone and register for different situations or phrases. His lead characters, the narrator-substitutes, are phenomenally self-aware, full of words and strangled emotions but often speechless while they agonise about precisely which of the many available tones to say it in. They are also super-acute at noticing similar shifts of register in the people they’re listening to, detecting and categorising them with the precision of a collector.

The man spoke again. He was plainly drawing to a close, and now the hint of a new tone was heard, the detached disgust of a schoolmaster reading out some shameful confidential document he has snatched from the hot hand of one of their number. (p.151)

(I like ‘hot’. Adds precise detail to the thought.) But the main point is that, as Alec listens to the vicar’s long elegy for the departed Betty, he not only hears the words, he registers the changes of tone with which the vicar delivers them. Similarly, when her daughter is criticising the dead woman, Alec notices acutely how her voice changes.

At the mention of anger, anger itself returned to her voice, which had softened in the last minute or two. (p.163)

Bewilderment His heroes are bewitched, bothered and bewildered by life. There is a particular shape of Amis paragraph which describes a person or activity in acute detail only to end, ‘Why?’ Why? Why does he say that? Why do they do that? Why does he wear that? etc.

Alec found nothing to say; his attention was like a weight too heavy to move from where it had landed, on Bob’s suit. Why was he wearing it? He must have others. Where were they? (p.143)

An air of permanent amazement at other people’s sheer inexplicability – sometimes blank, serious and unnerving, but on many other occasions giving rise to a kind of hilarious exasperation, the fundamental tone and worldview of Amis’s fiction.


Related links

Penguin paperback edition of My Enemy's Enemy, illustration by Arthur Robins

Penguin paperback edition of My Enemy’s Enemy, illustration by Arthur Robins

Reviews of Kingsley Amis’s books

1954 Lucky Jim – Jim Dixon is a fraudulent history lecturer at a non-entity college, beset on all sides by problematic relations with ghastly people – with his pompous boss, Professor Welch and his unbearable family, with his clingy neurotic girlfriend, with the shower of contemptuous colleagues he shares a cheap rooming house with. Very funny in a sometimes rather desperate way.
1955 That Uncertain Feeling – Bored, frustrated librarian John Lewis in South Wales finds himself being seduced by the worldly wife of a local industrialist. Some hilarious scenes rather damped down by the wrenching portrayal of his genuinely hurt wife. An intense scene of dissipation and sex on a nearby beach, climax with the mistress’s mad driving home which leads to a sobering crash. Lewis eventually rejects the whole monied, corrupt scene and moves with his wife to a small mining town where he feels more in touch with his Welsh roots.
1958 I Like It Here – Welshman Garnet Bowen, happily scraping a living as a ‘writer’ in London, married to Barbara with three young children, is persuaded by his publisher to go ‘abroad’, to make some money from writing articles and also to check on a long-silent famous author who has resurfaced with a new novel – resulting in an amiable travelogue with comic characters and not much plot.
1960 Take a Girl Like You – the adventures of Jenny Bunn, twenty-year-old northern lass come down south to be an infant school teacher, who is pursued by every man she meets not to mention the lesbian lodger, and falls into a fraught relationship with public school teacher Patrick Standish, who is unforgivably harsh with her and sleeps with a number of other women, before they both rather reluctantly agree they have to get married.
1962 My Enemy’s Enemy – seven varied and persuasive short stories, including three set in an Army unit which anticipate The Anti-Death League and a seventh which is a short, powerful science fiction tale.
1963 One Fat Englishman – Obese, alcoholic, lecherous English publisher Roger Micheldene drinks, eats, insults and fornicates his way around New England, hideously embarrassing himself, his country, and the reader.
1965 The Egyptologists (with Robert Conquest) – an intermittently hilarious novel about a ‘society’ of Egyptologists with elaborate rules designed to prevent anyone outside the select few attending its scholarly meetings – but which, alas, turns out to be the front for a group of women-hating adulterers.
1966 The Anti-Death League – A long, convoluted and strikingly unfunny story about an Army Unit somewhere in the countryside which is preparing for an undefined and rather science fiction-y offensive, Operation Apollo, which will apparently have dire consequences for its officers. In particular the male lead, dashing James Churchill, who has a genuinely touching love affair with beautiful and damaged Catharine Casement.
1968 Colonel Sun: a James Bond Adventure (under the pseudonym Robert Markham)
1968 I Want It Now – The adventures of Ronnie Appleyard, an ambitious and predatory TV presenter, who starts off cynically targeting depressed young Mona, daughter of Lord and Lady Baldock, solely for her money and contacts, but finds himself actually falling in love with her and defying both the dragonish Lady B and the forces of the Law, in America and London.
1969 The Green Man – a short, strange and disturbing modern-day ghost story, told by the alcoholic, hypochondriac and lecherous Maurice Allington.
1971 Girl, 20 – Music critic Douglas Yandell gets dragged into the affair which elderly composer Sir Roy Vandervane is having with a 17-year-old girl and the damage it’s doing his family and grown-up daughter, the whole sorry mess somehow symbolising the collapse of values in late-1960s England.
1973 The Riverside Villas Murder – Detective novel set in the suburban Home Counties where the loss of handsome 14-year-old schoolboy Peter Furneaux’s virginity is combined with a gruesome murder, both – it turns out – performed by the same good-looking neighbour.
1974 Ending Up – A short powerful novel showing five old people, relatively poor and thrown together by circumstances into sharing a run-down country cottage, getting on each others’ nerves, appalling younger relatives when they visit, plotting and scheming against each other, until the bleakly farcical ending in which they all die.
1975 The Crime of the Century – detective serial written for the Sunday Times then published as an entertaining novella, Amis’s style is stripped to the bone in this yarn of a serial killer of women who succeeds in sowing multiple red herrings and false leads, before his melodramatic and implausible attempt on the Prime Minister’s life.
1976 The Alteration – a brilliantly imagined alternative reality in which the Reformation never happened and England is a central part of the ongoing Catholic Hegemony over all Europe, known simply as ‘Christendom’, in a novel which explores all aspects of this strange reality through the story of a ten-year-old choirboy who is selected for the great honour of being castrated, and how he tries to escape his fate.
1978 Jake’s Thing – Oxford don Jake Richardson has become impotent and his quest to restore his lost libido is a ‘hilarious’ journey through the 1970s sex therapy industry although, as always with Amis, the vitriolic abuse and sharp-eyed satire is interspersed with more thoughtful and even sensitive reflections on middle-age, love and marriage.
1980 Russian Hide-and-Seek – Soft science fiction set in an England of the future which has been invaded and conquered by the Russians and in which a hopeless attempt to overthrow the authorities is easily crushed.
1984 Stanley and the Women – First person narrative told by muddling middle-aged advertising salesman Stanley Duke, whose son Steve suffers a severe mental breakdown, thus (somehow) leaving poor old Stan at the mercy of his wife, ex-wife, ex-mistress and the insufferable female psychiatrist who treats the boy. Long, windy, self-pitying, misogynistic.
1986 The Old Devils – A 400-page magnum opus describing the lives, tangled relationships, the endless bitching and phenomenally unhealthy drinking of a dozen or so elderly, grumpy Welsh men and women, the trigger of the meandering ‘plot’ being the arrival back in their South Wales community of professional Welshman and tireless philanderer, Alun Weaver. Long and gruelling until its surprisingly moving and uplifting conclusion.
1988 Difficulties with Girls – A sequel to Take A Girl Like You, revisiting lecherous Patrick Standish (35) and his northern wife (Jenny Bunn) as they settle into a new flat on London’s South Bank, encounter the eccentric neighbours and struggle with Patrick’s sex addiction.
1990 The Folks That Live on the Hill – An amiable look at a cast of characters which rotate around retired librarian Harry Caldecote who lives in London with his sister, worries about his dim brother Freddie, and the rather helpless lesbian Bunty who he’s found accommodation for, dodges his scheming son Piers and his alcoholic niece-by-marriage, posh Fiona. His most enjoyable novel for years.
1991 We Are All Guilty – A short polemical novella for teenagers in which Amis dramatises his feelings that society has become rotten with do-gooding social workers, psychiatrists and trendy vicars, via the story of Clive Rayner, a teenage tearaway who breaks into a warehouse for kicks but causes an accident in which the night watchman is crippled. Instead of being harshly punished, Clive finds himself being exonerated and forgiven by everyone, which leaves him boiling with rage and frustration.
1992 The Russian Girl – Middle-aged Russian literature expert, Dr Richard Vaisey, has an affair with a talentless young Russian woman poet who is visiting London, which results in his wealthy wife kicking him out of their house, destroying all his books and notes, cutting off his allowance and generally decimating his life. Brutally funny.
1994 You Can’t Do Both – The boyhood and young manhood of Robin Davies who, like Amis, is at secondary school during the 1930s, at Oxford during the war, obsessed with girls girls girls throughout, and completely fails to live up to his responsibilities as a supposed adult, continuing to have affairs behind his loyal wife’s back until his final, humiliating come-uppance.
1995 The Biographer’s Moustache – Literary hack, Gordon Scott-Thompson, is commissioned to write a ‘critical biography’ of super-annuated novelist and social climber Jimmie Fane, leading to a sequence of comic escapades, which include being seduced by his pukka wife and a prolonged visit to the surreally grand home of the Duke of Dunwich, before Gordon’s plans, inevitably, collapse around him. Very enjoyable.

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