Щастливецът Джим

by Kingsley Amis, Кингсли Емис

С тънко проникновение, в атмосфера на забележителен хумор, Кингсли Емис изявява своя гняв срещу корумпираната същност на лишения от съдържание живот на среди от социалната върхушка на Англия. Като ни запознава с ежедневието на своя нещастно ощастливен Джим авторът ни поднася една жива колоритна сатирична творба, в която изпъкват типични картини от живота, похватите и взаимоотношенията в съвременното английско буржоазно общество.

Genres: Fiction, Classics, Humor, British Literature, Literature, Novels, Comedy

317 pages, Hardcover

First published January 1, 1954

About the author

Best known novels of British writer Sir Kingsley William Amis include Lucky Jim (1954) and The Old Devils (1986).

This English poet, critic, and teacher composed more than twenty-three collections, short stories, radio and television scripts, and books of social and literary criticism. He fathered Martin Amis.

William Robert Amis, a clerk of a mustard manufacturer, fathered him. He began his education at the city of London school, and went up to college of Saint John, Oxford, in April 1941 to read English; he met Philip Larkin and formed the most important friendship of his life. After only a year, the Army called him for service in July 1942. After serving as a lieutenant in the royal corps of signals in the Second World War, Amis returned to Oxford in October 1945 to complete his degree. He worked hard and got a first in English in 1947, and then decided to devote much of his time.

Pen names: [authorRobert Markham|553548] and William Bill Tanner

Reviews

[Glenn Russell · Rating 5 out of 5]

Jim Dixon's reflection on old man Welch, the chair of the History Department at the provincial college where the novel is set: "How had he become Professor of History, even at a place like this? By published works? No. By extra good teaching? No, in italics."
― Kingsley Amis, Lucky Jim

British literary critic and novelist David Lodge notes how those of his generation who came of age in England in the 1950s, men and women mostly from lower-middle income families having their first real taste of educational and professional opportunity, felt more than a little unease with the attitudes and values of the prevailing cultural and social establishment. Novels like Lucky Jim really spoke to them: young Jim Dixon enters the world of academia and polite society and detests all the airs, posturing, snootiness, arrogance and pretense. Judging from the reviews and essays penned by British readers in the last few years, this Kingsley Amis novel continues to speak with power.

As an American, the novel also spoke to me with power; however, the power (and also the humor) is signature British – subtle and understated. Well, subtle and understated when it is not being Monty Pythonesque, that is. For examples we need only turn to the first pages. The opening scene has Dixon strolling the campus with Professor Welch, chair of the history department, the man who will approve or disapprove Dixon’s continuing within the department beyond the current term. Welsh is fussing over a local reporter’s write up of a concert where he, Welsh, played the recorder accompanied by piano. The newspaper said “flute and piano.” Welch pedantically details the difference between a flute and a recorder as if he is David Munrow, as if his recorder playing and the concert amounted to a historical event in the world of twentieth century performance. Hey, Welch – nobody gives a fig! And a recorder is a fipple flute, so the reporter’s mistake is hardly a monumental blunder.

Dixon and Welch continue walking together across the lawn in front of a college building, “To look at, but not only to look at, they resembled some kind of variety act: Welch tall and weedy, with limp whitening hair, Dixon on the short side, fair and round-faced, with an unusual breadth of shoulder that had never been accompanied by any special physical strength or skill.” In addition to providing the reader with telling physical detail, likening the two men to a variety act initiates a recurrent theme carried throughout the novel: very much in keeping with English society, nearly everyone moves and speaks as if they are acting on a stage; in other words, acculturated to play a prescribed, set role. Incidentally, I’ve heard more than once how the British are such natural actors and actresses since they are trained to act beginning as children. And this play acting really heightens the humor, especially as Jim Dixon seethes with rage as he follows the script and, fueled by alcohol, seethes with even more rage as he rebels against the whole stage production. Very British; very funny.

Ah, rebellion! Jim Dixon is a rebel with a cause, his cause being life free of hypocrisy and stupidity. But, alas, much of his rebellion is a silent rebellion. We are treated to Jim’s running commentary of what he would like to say and like to do, as in, after listening to more of Welch’s prattle: “He pretended to himself that he’d pick up his professor round the waist, squeeze the furry grey-blue waistcoat against him to expel the breath, run heavily with him up the steps, along the corridor to the Staff Cloakroom, and plunge the too-small feet in their capless shoes into a lavatory basin, pulling the plug once, twice and again, stuffing the mouth with toilet-paper.”

Again a bit later Jim hops in the car next to Welch as the professor drives home from the college and Welch presses him on the prospects of his history article being published. Dixon’s reply is cut short when Welch nearly causes a multi-vehicle crash: “Dixon, thought on the whole glad at this escape, felt at the same time that the conversation would have been appropriately rounded off by Welch’s death.” And this is only for starters – many are the zinger launched at the world of academe. No wonder Amis received a rather cool reception from the English faculty at Cambridge in the years following the publication of Lucky Jim!

The humor escalates as Jim Dixon finds himself in a number of increasingly farcical and compromising situations, usually brought on, in part, by his own prankster antics and drinking, at such events as a stay, including obligatory singing, at the home of the Welches, a college sponsored dance and, finally, delivering a required public history lecture to a full house. Actually, the events prior to and during Jim’s grand finale lecture are the stuff of Monty Python. All told, the exquisite timing of Amis’ language and the string of outrageous quagmires Jim must face make for one comic novel.

However, it must be noted, the humor cuts deeper than the comic British novels of writers like P. G. Wodehouse. A prime example is Jim’s skirmish with Welch’s son Bertrand, a self-styled amateur artist. Events and emotions move apace until Dixon has developed his own relationship with Bertrand’s girlfriend Christine. Bertrand becomes progressively more infuriated at this unwanted development and at one point snarls into Dixon’s face: “Just get this straight in your so-called mind. When I see something I want, I go for it. I don’t allow people of your sort to stand in my way. That’s what you’re leaving out of account. I’m having Christine because it’s my right. Do you understand that? If I’m after something I don’t care what I do to make sure that I get it.” Oh, my goodness, a member of the wealthy, privileged class portrayed as a viscous, condescending, power-hungry scum.

Lastly, what would a novel by Kingsley Amis be without young ladies? Lucky Jim features two such ladies: Margaret and the above mentioned Christine. Margaret teaches history at the college, is rather plain and uses emotional blackmail to tighten her grip on menfolk; Christine is both attractive and connected to an uncle in high places. To find out just how far Margaret will go with her blackmail and how lucky Jim Dixon will be with Christine and her uncle, you will have to read this comic jewel for yourself.


Kingsley Amis in 1954, age 32, year of publication of Lucky Jim

Jim upon waking up with a hangover. Would anyone doubt Kingsley Amis mined his own first-hand experience? - "Dixon was alive again. Consciousness was upon him before he could get out of the way; not for him the slow, gracious wandering from the halls of sleep, but a summary, forcible ejection. He lay sprawled, too wicked to move, spewed up like a broken spider-crab on the tarry shingle of morning. The light did him harm, but not as much as looking at things did; he resolved, having done it once, never to move his eyeballs again. A dusty thudding in his head made the scene before him beat like a pulse. His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum. During the night, too, he'd somehow been on a cross-country run and then been expertly beaten up by secret police. He felt bad.”

[Fergus, Weaver of Autistic Webs · Rating 4 out of 5]

Honesty is the best policy!

And it’s the reason for Lucky Jim’s LUCK. He has a knack of endearing folks to himself by it. Yes, he’s candid; but he always takes shortcuts! And he gets even with all of his malefactors harmlessly - by zanily larfing.

In 1971 I started coasting at university. I had won two faculty awards and just decided to rest on my laurels a bit. BIG MISTAKE. My junior and senior years yielded meagre results. Twice lucky, and twice more shy!

I got my degree by the skin of my teeth in the end because I too took shortcuts.

I guess it was primarily because of two extracurricular novels I read that Sophomore year: Waugh’s Decline and Fall, and this one.

Waugh’s moral was religious and preachy.

Amis’ novel was neither - and it had a POSITIVE message. Both were outrageously funny books about COASTING university students like me, who survived.

I preferred Lucky Jim: it taught me to be bright and positive no matter how bad things got. And Amis gave me license to Fake It a little. Cause it was all a harmless game.

Funny, isn’t it, how kids take novelists as their main mentors no matter how dire the consequences may be!

Or fictional characters - like Holden Caulfield or even Duddy Kravitz. Too bad for them, if they never know better. Our gripes tend to cast anchor at such conveniently Self-aggrandizing literary rest stops. Too bad for us if that leads to the depressive Wormies!

At school, though - getting back to my own fraud - I could fake it reasonably well. I sang in the choir of the university choral society and I even faked that. I could never read music unless my fingers were on a keyboard (that’s how I oriented myself)!

But later, there was gonna be all Heck to pay for it all...

When, later on, I had to prepare budgetary estimates and forecasts of cash flow at work, I had to have all my ducks lined up and strictly accounted for, or I’d be OUTTA THERE!

And you can bet the Big Cheeses let me know that. Stress city! But just like Jim, Lady Luck was beside me.

So Jim’s only still a kid, and he’s honest.

Well and good so far.

But when eventually he’s married, managing the household budget and holding down a full time job on top of all that during his career, and a social misfit to boot, as I was, he’ll have to be PRETTY DARNED GOOD.

No more coasting!

Good AT it... and a GOOD PERSON at heart.

Yes, this is a funny novel, and Amis’ best.

But if you don’t want to pay the piper later, DON‘T imitate Jim and just try to fake it through life.

Take my word for it.

I learned the HARD way...

Cause the Bad Guys never stopped Watching me -

Just Shape Up, kid, or Ship Out!

[Jim Fonseca · Rating 4 out of 5]

[Revised 1/21/23]
This is a book packed with humor on every page. The blurbs tell us it is “Regarded by many as the finest, and funniest, comic novel of the twentieth century.” I’ll give examples but let me first tell you a bit about the story:

Jim Dixon is an adjunct faculty member at a British university. He’s under pressure to get something published and when he finds a title for his paper “It was a perfect title, in that it crystallized the article’s niggling mindlessness, its funereal parade of yawn-enforcing facts, the pseudo-light it threw upon non-problems.”



Jim isn’t a good-looking guy. He’s short and broad-shouldered and looks odd because he’s so skinny. His doddering supervising professor essentially has Alzheimer’s and all kinds of quirks. The professor has asked Dixon to take care of an unattractive female professor who lives in the professor’s house. That leads to a pseudo-romantic relationship and no end of problems and entanglements with the woman and his professor’s elderly wife. The professor’s son comes to visit for a time and Dixon makes the mistake of going after the son’s woman friend even though she’s out of his class.

The title of the book gives us the theme. Joseph Conrad wrote “It is the mark of an inexperienced man not to believe in luck.” Dixon, down on his luck, understands better than most that lucky people tend to attribute their success to hard work, their great abilities, and so on. Jim tells us more than once a simple truism that he has developed as a theory: “It was one more argument to support his theory that nice things are nicer than nasty ones.”

“All that could logically be said was that Christine was lucky to look so nice. It was luck you needed all along; with just a little more luck he’d had been able to switch his life on to a momentarily adjoining track, a track destined to swing aside at once away from his own.”

“To write things down as luck wasn’t the same as writing them off as nonexistent or in some way beneath consideration… there was no end to the way in which nice things are nicer than nasty ones. It had been luck too, that had freed him … And now he badly needed another dose of luck. If it came, he might yet prove to be of use to somebody.”

Dixon is bright enough to realize that he often brings on his own bad luck. Hius smoking in bed gives us a hilarious episode and his excessive drinking gives us several others.

Some examples of humor:

“Bertrand, Dixon had to admit, was quite presentable in evening clothes, and to say of him now that he looked like an artist of some sort would have been true without being too offensive.”

“There was a small golden emblem on his tie resembling some heraldic device or other, but proving on closer scrutiny to be congealed egg-yolk.”

“When she turned and faced him [to dance] at the edge of the floor, he found it hard to believe that she was really going to let him touch her, or that the men near them wouldn’t spontaneously intervene to prevent him.”

Of a couple dancing: “She permanently resembled a horse, he only when he laughed…]

“He reflected that the Arab proverb ‘take what you want and pay for it’ [Jim adds] ‘which is better than being forced to take what you don’t want and paying for that.’”

His landlady at the boarding house serves soggy cornflakes, pallid fried eggs, bright red bacon, explosive toast and diuretic coffee. Of one of the other boarders he tells us “As so often, especially in the mornings, his demeanor seemed to imply that he was unacquainted with the other two and had, at the moment, no intention of striking up any sort of relation with them.”

An academic novel that’s a hilarious read and a fun break from more serious stuff.



The author (1922-1995) Kingsley Amis was the father of the author Martin Amis. Kingsley wrote about 20 novels and Lucky Jim is by far his best-known work.

Photo of Oxford University from ox.ac.uk
The author from hyperallegic.com

[Tamra · Rating 3 out of 5]

Lucky Jim reminds me of The Beatles. I like the Beatles. I enjoy the Beatles. I can recite all the reasons why The Beatles are supposed to be the greatest, most culturally relevant rock band in history. And yet... As a person who grew up post-Beatles, and who has heard The Beatles ALL THE TIME her entire life, the difference between the impact that I am told The Beatles should have on me, and the actual impact that The Beatles have on me, is a huge, yawning chasm of incomprehensibility.

Lucky Jim reminds me of The Beatles.

For years I've heard that this novel is the funniest of the 20th century, possibly of all time. It's had a huge impact on some of my favorite writers and comedians. It sets the standard for satires of class issues. And I did like it. I enjoyed it. It was amusing. And yet... There's huge, yawning Beatles-shaped chasm between my expectations of enjoyment of Lucky Jim and my actual enjoyment of Lucky Jim. And maybe it's just that I'm too young, too American to appreciate how radical Lucky Jim was when it was published. Maybe, like The Beatles, you just had to be there in order to really grasp the full impact of the work...

[Paul Bryant · Rating 3 out of 5]

I laughed once – page 243! - and otherwise I barely smiled, but I could see exactly where I would have been roaring and splurting had I been one of the 500,000 people who think this novel is one of the all time hootiest of hoots. (Wiki : Christopher Hitchens described it as the funniest book of the second half of the 20th century and Toby Young has judged it the best comic novel of the 20th century. So there.)

There is no doubt that Kingsley Amis has a lovely deft deadly turn of phrase. Here our young medieval history lecturer is talking with his aggravating old fool of a professor :

An expression of unhappiness was beginning to settle on Welch’s small-eyed face. Dixon was at first pleased to see this evidence that Welch’s mind could still be reached from the outside

Now, as Dixon had been half-expecting all along, Welch produced his handkerchief. It was clear that he was about to blow his nose. This was usually horrible, if only because it drew unwilling attention to Welch’s nose itself, a large, open-pored tetrahedron.

Lucky Jim is a rom-com, but comedy is always only the top level of what’s going on in comedy, and just under the surface of Jim’s vicious daydreams of stabbing the professor and vomiting on his dreadful son there is a very human, very sad and desperate picture of a guy who’s found himself in a job he hates and in a vague, not quite romantic relationship with a woman he only very faintly likes but feels obligated to, and anyway, it’s not like there are any other female candidates around. His days are thus filled with a mixture of toadying, fawning, apologizing, being hedged in, hemmed in, feeling awkward, wrong-footed, socially inferior, and desperate to pass his probationary year so he can look forward to a career composed of more toadying and fawning and more lectures he dreads having to write. His situation is grisly, and I think, quite common, then and now. In a future decade he’d be ingesting pharmaceuticals for sure, but all he has to alleviate this inverted Vesuvius of bubbling suppression is beer and cigarettes, this being the very late 1940s; and so we get pages of extraordinarily detailed description of the pleasures and ravages of beer and fags. The women of every decade up to the last one have had to accept smooching from men reeking of beer and smoking. I guess people can get used to pretty much anything.

A rom-com has to have obstacles for the temporary thwarting of the young lovers, and these are often in the form of arrogant buffoons like Malvolio in Twelfth Night or Daniel Cleaver in Bridget Jones’ Diary or Pete in Shaun of the Dead. Lucky Jim has two, the bearded painter Bertrand, and the “neurotic” Margaret. Bertrand is a stock figure of slapstick fun, and Margaret is far and away the most interesting , because most disturbing, character in the book.

She’s a 30-something spinster and by means of a suicide attempt has emotionally blackmailed our hero Jim into thinking she’s too fragile for him to suggest that actually, they aren’t involved at all, they just drift around social functions together as mates do. The book, in the form of Jim’s musings, is quite explicit about looksism here – if only she was the slightest bit attractive, there might be something in it for Jim :

What a pity it was, he thought, that she wasn’t better-looking, that she didn’t read articles in the three-halfpenny press that told you what lipstick went with what natural colouring. With twenty per cent more of what she lacked in these ways, she’d never have run into any of her appalling difficulties : the vices and morbidities bred of loneliness would have remained safely dormant until old age.

Well, that’s not what you expect from a beloved cosy comic novel. Amis places this character at the centre of the novel, next to Jim, and he says well – he was lucky, in the end, and she …. wasn’t. Yes, bad luck that she didn’t have the wherewithal to accentuate even the meagre resources granted her by her bad luck face and figure, but you can’t waste your life sticking around trying to make such hopeless cases feel better. So just be grateful that you're not like her. Life’s for living. Hey ho. The fate of Margaret casts a retrospective coldness over the whole novel, and the glaring nasty attempt by Amis to say, in the end, oh well, she brought all her troubles down on her own head is unpleasant and a transparent attempt to blame the victim to allow the romcom couple to glow off into a cuddly future.

This book was discussed on a recent BBC Radio 4 programme “A Good Read” (not to be confused with a certain website). (I recommend this programme to anyone who can listen via the BBC website.) The two women and one man didn’t find any of this especially objectionable, just mentioned that this novel is very much “of its time” and grooved on the verbal humour, which, I agree, lies around in heaps.

The bit which did make me laugh was an anguished bus journey where Jim is in true romcom denouement style trying to make it to the train station in time before the gorgeous Christine legs it to London, and all these wheezy old dears and farm vehicles slow the bus down to a crawl

Far ahead an emaciated brown hand appeared from the lorry's cab and made a writhing, beckoning movement. The driver of the bus ignored this invitation in favour of drawing to a gradual halt by a bus-stop outside a row of thatched cottages. The foreshortened bulks of two old women dressed in black waited until the bus was quenched of all motion before clutching each other and edging with sidelong caution out of Dixon's view towards the platform.

– the exact same scene pops up in the so very much funnier Trainspotting where Renton and his pals are on a bus on their way to score and again old farts keep getting on and off and Renton’s thoughts, you may imagine, even more lurid and violent than Jim Dixon’s. So if you want to make me laugh with your novel, a scene where old people are getting slowly on and off a bus while the hero impotently gnaws the back of the seat in front will do the trick every time.

This was Kingsley's first novel and that's got to be impressive. In 1954 he was the one to watch all right.

[Fabian · Rating 5 out of 5]

"His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum." (64)

Oh, that inconceivable wit! I love English literature generally for its whimsy & elegance combined. f"Lucky Jim" happens to charm the pants off readers. It is "Brideshead Revisited"-lite, K. Amis being an obvious disciple of E. Waugh (and, let me tell you, there is no better master than this English satirist). It's a romcom in which every single guy can relate to inglorious James Dixon (I certainly did, especially to all the departmental drama [i.e. student versus teacher & other such vapid rivalries]in the perilous voyage to MFA), whose truest intentions are good (&, like any modern man's, rather selfish) in spite of his constant tumbles and missteps in this engrossing comedy, subtitled "a rollicking misadventure."

Novels about the life academic--like the best of them in fact, "Rules of Attraction," "The Secret History," "The Marriage Plot", "Joe College" &, my personal fave, "The Art of Fielding-- are rare and to be dearly treasured. This one totally ranks highly among those aforementioned.

[Kevin Ansbro · Rating 3 out of 5]

I was drawn to Kingsley Amis's debut novel because it has been described as a "literary tour de force" by aficionados far cleverer than I.
Moreover, the blurb promised "A brilliantly and preposterously funny book". So, before I'd even touched the first page, I was shimmying in the manner of a Brazilian carnival dancer in hot anticipation of satirical excellence.

The book introduces us to an unworldly and hapless junior lecturer in his first year at a provincial university (the eponymous 'Lucky Jim', aka Jim Dixon) who rails against the pomposity of the university's old world order. My three bits of good news are that the entire piece is well crafted, that Amis's plainspoken writing style is not to be sneezed at, and that some of the humour did at least cause me to crack a smile.
The bad news (for me at least) is that the humour didn't raise anything more than a smile because I'm a grizzled sourpuss who's been around the block innumerable times and no longer finds campus humour to be particularly funny.
This novel was deemed shocking back in the day, so I guess I should have read it whilst I was still a long-haired English literature student, because then it might have seemed anarchic and risqué and might have titillated me more than it did.

Amis must have intended that his readers would side with Jim Dixon, that they might find him an endearing rebel and a well-intentioned vodka-swilling underdog. But my impression was that he needed to sort himself out and stop being such a pathetic loser.

Please note that most readers of this book found it completely hilarious and deliciously edgy, so it might be a very good idea to disregard all that I've said.

And there we have it: my nonconformist review of Lucky Jim. Devotees of this book are welcome to come after me with pitchforks and lanterns in hand, but I've already fled the village.
: )

[Luís · Rating 4 out of 5]

Jim Dixon is a university history lecturer with a growing sense that he is not quite in the right place in life, but he can do nothing about it financially. Not only that, but he finds himself surrounded by people whom he would prefer not to have been near. So, how will it persuade his professor, Mr Welch, to recommend that he be kept in his position after his trial employment period ends? He should listen avidly to him, no matter where he is or what he is talking about. To this end, he accepts all weekend and evening invitations from Mr Welch. This fact is problematic to take, as Jim finds him incredibly annoying. However, the situation is made more tolerable by resorting to schoolboy tricks, such as writing insults in the condensation on the mirror and having a collection of silly faces to pull behind his back. He meets the neurotic Margaret, and although he tries to persuade himself that a relationship with her is the proper and sensible thing to do, he ends up wishing he could make a loud, rude noise in her face or shove a bead up her nose. He finds John a snitch, and Bernard is annoying and hostile. There are, however, upsides to his life. His friend Atkinson joins forces with him to outwit their wealthier colleagues, and he executes several plots to exact revenge on the snitch Johns, giving himself a very satisfying feeling. Then there's Christine. Once he gets to know her, she should be his girl, not Bertrand's, despite the looks that old ladies give him due to their age difference. And perhaps his upcoming Merrie England lecture, in front of a vast audience including students, senior colleagues, and the professor himself, will endear him to the higher echelons. You will enjoy this book if you want a good laugh at what a university lecturer and his friends can get up. Jim Dixon finds a way to get even with the people he dislikes hilariously.

[Valeriu Gherghel · Rating 3 out of 5]

Un roman mai mult sau mai puțin umoristic, o satiră a moravurilor academice provinciale.

În romanul lui Kingsley Amis, există, de fapt, două povești amestecate. Prima s-ar putea intitula „Pajul cel sărman și pintenii de cavaler” și se referă la eforturile lui Jim Dixon de a-l convinge pe profesorul Welch că merită un post în departamentul pe care [Welch] îl conduce. Îi face curte, îi verifică articolele (și trimiterile), participă pios la seratele muzicale organizate de Magistru. Dar Jim nu are nici vocație și nici noroc. Arta profesorului Welch de a amîna pînă la calendele grecești un răspuns hotărît e fără cusur și mai presus de puterea de a rezista a ucenicului. Prin acest fir narativ, Jim cel norocos este un „roman de campus”, în terminologia lui David Lodge. Autorul descrie o universitate mediocră, cu profesori mediocri, cu studenți mediocri.

A doua poveste s-ar putea numi „Pajul cel sărman și Prințesa cea bogată”. La una dintre seratele din casa Welch, Jim o cunoaște pe Christine Callaghan. Din păcate, Christine e prietena lui Bertrand, unul dintre fiii profesorului, un „pictor pacifist”, lipsit de orice talent și plin de ifose. Jim e într-o relație fără cap și fără coadă cu Margaret. Cînd le compară pe cele două femei, tînărul aspirant la un post universitar constată din nou că n-a avut noroc. Inima îl trage spre Prințesă, Margaret îl trage spre ea. Dar, în spatele scenei, norocul (întotdeauna orb) stă la pîndă. Jim și Bertrand încing o partdă de box, învinsul (Bertrand) se prăbușește secerat la podea, Jim se alege cu un ochi umflat. Nu are rost să rezum mai departe, sfîrșitul se poate bănui. În pofida oricărei logici, Prințesa îl preferă pe bietul paj.

Mai puțin convingătoare mi s-au părut tentativele repetate (și disperate) ale lui Kingsley Amis de a trezi în cititori buna dispoziție. Umorul prozatorului englez seamănă, mai degrabă, cu strîmbăturile lui Louis de Funès. Nu există descriere fizică fără comparații caricaturale: fața cuiva e „palidă ca o bucată de slănină”. Același sau altul are fața de „culoarea brînzei cu cheag”. Cutare „eliberează un lung hohot de rîs anarhist, ca sunetul unui trombon”. În fine, Jim „își rostogolește ochii în cap ca pe niște bile și își suge obrajii, căpătînd expresia unui tuberculos”.

Ăsta nu mi se pare umor englezesc...

P. S. Nu pot nega însă că fraza care o caracterizează pe Christine e scrisă de un meseriaș: „Îşi aminti stingherit groaznica strălucire a pielii ei, limpezimea demoralizantă a ochilor, albeaţa nesăbuită a dinţilor uşor neregulaţi”. Mi-aș dori și eu o femeie cu astfel de ochi, deși nu m-aș simți cîtuși de puțin demoralizat...

[karen · Rating 4 out of 5]

to celebrate labor day and fall and back-to-school, here is a list of campus fiction & stuff that i put together:

Two facts that are not related, but seem as though they ought to be:

1) Autumn is my favorite season

2) I love both campus novels and campus thrillers

What’s not to love: brisk weather, fresh notebooks, hungry, impressionable minds, maybe a murder or two… So, to celebrate the return of fall and all its academic possibilities, here is a back-to-school reading list for you: 52 adult fiction titles winnowed down through the same process of blood, sweat, tears, alcohol and research as defined my own years of academic rigor.

It’s a “something for everyone” bridge mix list of classic and contemporary titles in a variety of treatments: traditional campus novels having a laugh at pompous academics, nostalgic coming-of-age school days, comedies about the hopeless bureaucratic tangle of academia and politics, plus some murder and light cannibalism.

Whether you are going off to school yourself or are the proud parents of students, whether you remember your long-past school days with nostalgia or relief, there are bound to be a few books here with something to teach you, and you don't even have to get out of your pajamas for this class.

http://www.rifflebooks.com/list/24096...

[Sasha · Rating 3 out of 5]

In this comic classic from 1954, an...oh God, I can't. I can't muster the fucks for one more book about a white guy who works at a university. I can't. I don't want any more.

Here is the plot: this white guy, I don't know, and then whatever. Here's how I felt about it: I felt ennui. I don't care, put me in a chair by the window, put on soft music, let me die.

[Manny · Rating 4 out of 5]

This book is invariably described as a comedy. Well, there's no doubt that it's often very funny, but to me it read more as a philosophical novel about the nature of love; in particular, about the question of whether it is better, in romantic matters, to behave selfishly or unselfishly. As you will see in my review of Atlas Shrugged, this is a subject I find very interesting. Kingsley Amis's position is in some ways not that far from Ayn Rand's, but it's far more nuanced. In particular, Amis is clear that he thinks selfishness is only a virtue in romantic contexts, not in general.

I liked the following passage. Jim, as usual not quite sober, has been asked by Christine, the girl of his dreams, if she should marry a man whom Dixon loathes.

'Are you in love with him?'

'I don't much care for that word,' she said, as if rebuking a foul-mouthed tradesman.

'Why not?'

'Because I don't know what it means.'

He gave a quiet yell. 'Oh, don't say that; no, don't say that. It's a word you must often have come across in conversation and literature. Are you going to tell me it sends you flying to the dictionary every time? Of course you're not. I suppose you mean it's purely personal --- sorry, got to get the jargon right --- purely subjective.'

'Well it is, isn't it?'

'Yes, that's right. You talk as though it's the only thing that is. If you can tell me whether you like greengages or not, you can tell me whether you love Bertrand or not, if you want to tell me, that is.'

'You're still making it much too simple. All I can really say is that I'm pretty sure I was in love with Bertrand a little while ago, and now I'm rather less sure. That up-and-down business doesn't happen with greengages; that's the difference.'

'Not with greengages, agreed. But what about rhubarb, eh? What about rhubarb? Ever since my mother stopped forcing me to eat it, rhubarb and I have been conducting a relationship that can swing between love and hatred every time we meet.'

'That's all very well, Jim. The trouble with love is that it gets you in such a state you can't look at your own feelings dispassionately.'

'That would be a good thing if you could do it, then?'

'Why, of course.'

He gave another quiet yell, this time some distance above middle C. 'You've got a long way to go, if you don't mind me saying so, even though you are nice. By all means view your own feelings dispassionately, if you feel you ought to, but that's nothing to do with deciding whether (Christ) you're in love. Deciding that's no different from the greengages business. What is difficult, and this time you really do need this dispassionate rubbish, is deciding what to do about being in love if you are, whether you can stick the person you love enough to marry them, and so on.'

'Why, that's exactly what I've been saying, in different words.'

'Words change the thing, and anyway the whole procedure's different. People get themselves all steamed up about whether they're in love or not, and can't work it out, and their decisions go all to pot. It's happening every day. They ought to realise that the love part's perfectly easy; the hard part is the working out, not about love, but about what they're going to do. The difference is that they can get their brains going on that, instead of taking the sound of the word "love" as a signal for switching them off. They can get somewhere, instead of indulging in a sort of orgy of self-catechising about how you know you're in love, and what love is anyway, and all the rest of it. You don't ask yourself what greengages are, or how you know whether you like them or not, do you? Right?'

[Samuel Williams · Rating 2 out of 5]

Perhaps I'm a stuffed-shirted bore, but I didn't find Lucky Jim anywhere near as funny as it was made out to be. Granted, it did make me smile sometimes, and laugh out loud occasionally. But it doesn't seem to have much else going for it. There's wit enough, but much of the comedy is physical rather than verbal, with strong elements of farce, and would probably work better on stage or screen than in print. The language is gratingly formal and often feels mechanical, even when viewed as a parody of academic writing.

Kingsley's character portraits are perceptive, but somehow failed to grab me. At the heart of it all is Jim Dixon, a supposedly loveable slacker who expects luck to carry him through life. And – moral of the story – it does. Jim comes to the realisation that 'It was luck you needed all along; with just a little more luck he'd have been able to switch his life onto a momentarily adjoining track'. With more than a little luck, Jim gets the girl of his dreams, whose pleasant personality is a direct result of her fortunate good looks, and escapes from Margaret, whose histrionic personality is a direct result of her less-than-fortunate looks. Dumping Margaret is a perfectly acceptable course of action – it's nothing personal; she's just unlucky.

To the average mid-twenties male who wishes that the women in his life would stop being so damned complicated and just sleep with him already, it may be a soothing balm. But for someone who stopped laughing along with Jim a hundred pages ago, it's plainly ridiculous and irritatingly shallow. The last thing Jim needs is more luck – what he really needs is to pull his bloody socks up, control his pathological face-pulling and stop looking for the quick-fix solution to every problem that comes his way. Oddly enough, the character with whom I most sympathise is just another obstacle in Dixon's path: Michie, the student who actually wants to get something out of his university education. Fortunately, my lecturers are much more capable than Dixon and Welch, who, to me, seem just as bad as each other.

Perhaps I'm being a little harsh, and taking an overly serious approach to what should be a lighthearted campus romp. But when the laughs don't come thick and fast enough, the superficiality of this novel really stands out, and I can't help but feel as if I'm reading the 1950s equivalent of a National Lampoon film.

[Bfisher · Rating 5 out of 5]

This book is remarkable for the amount of physical humour; I sometimes felt that I was watching a Charlie Chaplin or Harold Lloyd film. There are many descriptions of making (and imagining making) peculiar facial expressions, generally accompanied by suppressed rage ("...tried to flail his features into some sort of response to humour. Mentally, however, he was making a different face and promising himself he’d make it actually when next alone. He’d draw his lower lip in under his top teeth and by degrees retract his chin as far as possible, all this while dilating his eyes and nostrils. By these means he would, he was confident, cause a deep dangerous flush to suffuse his face."). This is paralleled by the making of odd noises ("he threw back his head, filled his lungs, and let loose a loud and prolonged bray of rage"). There is a wonderful description of falling asleep drunk.

Amis particularly mocks the provincial academic aspiration to high culture, exemplified in Dixon's supervisor, Professor Welch (‘Now a recorder, you know, isn’t like a flute, though it’s the flute’s immediate ancestor, of course. To begin with, it’s played, that’s the recorder, what they call à bec ...’). Dixon's responses when dragooned into cultural weekends at Welch's home, or forced to give an public lecture on Merrie England, are shambolic.

One of the finest things about this novel is the ending. Amis paints Dixon into a corner where, dismissed from his job as history lecturer after a series of disastrous actions, he is rescued by the rich uncle of his girlfriend-to-be. It is a common thing in literature for a deserving poor hero to be redeemed from his distressing circumstances by the wealthy relative of a fair damsel the hero has rescued; that is the core Horatio Alger plot. Dixon is one of Alfred Doolittle's Undeserving Poor, which of course is why he is Lucky Jim.

[Graham Power · Rating 4 out of 5]

This review contains spoilers.

Received opinion tells us that Kingsley Amis went from Angry Young Man to cantankerous old devil; from liberal left-winger to illiberal right-winger. Having finally read Lucky Jim, his first novel published in 1954, I couldn’t help wondering. Perhaps Amis’s outlook hardened over the years but, on this evidence, he didn’t travel very far. Rather astonishingly he was a member of the British Communist Party when he wrote this, but it feels like the work of an instinctive conservative, albeit of the Tory-anarchist variety. If the book has a message it is that you should follow your own true feelings and desires, even if that might involve treading on other people’s; hardly a socialist lesson. It’s a lesson nonetheless that Amis’s hero, probationary history lecturer Jim Dixon, takes to heart as he metamorphoses from downtrodden underling to Machiavellian schemer. At the end he finally gets the girl he has been chasing and leaves his provincial university to head off to London to work in a well-paid job as private secretary to a millionaire businessman. Jim looks set to do well in the world of business, so good riddance to stuffy old academia! It’s clear that Amis intends this as a happy ending entirely free of irony.

Lucky Jim inaugurated both the campus novel and the whole Angry Young Man business, even if the term itself wasn’t in currency until after the 1956 premiere of John Osborne’s Look Back in Anger. It seethes very entertainingly with ill will, rage, venom, bile and loathing; spleen, in a word. There’s little, though, in the way of political anger from this Angry Young Man. His main satirical target is not the inequities of society but culture bores, pretentious poseurs, and pseudo-intellectuals. I can well imagine that in the stuffy Britain of the early 1950s it must have been wonderfully liberating to read about a university lecturer ‘whose policy it was to read as little as possible of any given book’, who decided to specialise in medieval history because he thought it was the easy option, or Jim contriving his way out of a chamber recital to sneak off to the pub and get bladdered, and talking of ‘filthy Mozart’. If this all seems no more than quaintly amusing now, like an Ealing comedy, that’s not Amis’s fault. There were certainly many at the time who were not amused. According to Anthony Powell ‘in certain quarters Lucky Jim was looked on quite simply as a shower of brickbats hurled by a half-educated hooligan at the holiest and most fragile shrine of arts and letters, not to mention music’. This reputation for anti-intellectualism, or even outright philistinism, clung to Amis throughout his career, indeed he appeared to enjoy cultivating it, but his real attack, and undoubtedly in this book, was on those who use culture to give themselves a spurious sense of superiority and distinction, rather than culture itself.

At the centre of the novel is a love triangle (no, come to think of it, it’s a love quartet). Jim, who through a vague yet nagging sense of responsibility has landed himself with the histrionic and emotionally manipulative Margaret, is increasingly attracted to Christine, girlfriend of the snobby would-be artist Bertrand, son of Jim’s boss, the preternaturally self-obsessed Professor Welch. Others before me have commented on the sexism inherent in much of this. They have a point, but I think the passage of time might be the main culprit. In a society where rumours of the death of Queen Victoria had been greatly exaggerated the frankness about relationships and sexual desire probably felt like a daring step forward, even if our modern sensibilities can’t help noticing that all the ‘frankness’ is emanating from the male gaze. It’s also in this strand of the story that the book’s central theme of the importance of following your true feelings rather than duty or convention - or to put it less positively, the necessity of looking after number one - snaps into focus.

Social comedy tends to date badly, it’s audacious defiance of contemporary conventions rendered innocuous, or even reactionary, by their supersession by new ones. Lucky Jim is rather like a mid-century piece of furniture, an old sideboard perhaps, once on-trend and now attracting embarrassed glances. There is one important respect, however, in which it still feels contemporary: the prose style. Amis’s prose combines dyspeptic wit with a buoyancy of spirit to very pleasing effect. It’s conversational yet stylish, a sort of Welfare State Wodehousian. He was also a poet and there is more than a touch of poetry in his prose. The book is full of brilliantly witty sentences of a deceptively throwaway kind, and Dixon’s inebriated ‘Merrie England’ lecture fully deserves its reputation as a bravura display of sustained comic writing. The funniest comedy in the book arises entirely from Amis’s way with words rather than contrived situations. Through a sense of obligation to others, or simply out of the need to keep his job, Jim is constantly biting his tongue, but his thoughts betray his true feelings-:

‘Do you hate me, James?’ she said.
Dixon wanted to rush at her and tip her backwards in the chair, to make a deafening rude noise in her face, to push a bead up her nose.
‘How do you mean?’ he asked.

If in many ways Lucky Jim seems stranded in time, dated rather than classic, requiring a certain amount of historical imagination to understand why it might once have seemed dangerously modern, and in some respects ‘problematic’, as we say nowadays, the ultimate test of a comic novel is whether it still makes you laugh; it certainly made me laugh a lot, which is not bad for a book written more than seventy years ago.

[Jr Bacdayan · Rating 4 out of 5]

The party was a handsome piece of flatulent sobriety, JR noted to himself. Glitters fluttered all around, bandy shanks of a particularly smelly vegetation filled the bodacious hall. No doubt, the decorators in their sheer genius prioritized the visceral over the nasal. It was going to be one of those nights when he would have to pretend that he loved the smell of urine, which was the scent the cursed broccoli were emitting. He would have to endure much more than he thought. As if on cue, the band started playing a pop song he despised. Unlucky sonofabitch, he cursed under his breath. Then he saw them, the wretched little group he had come here for. The group consisted of Dixon, a louse; Bertrand, an asshole; Christine, an angel; Carol, whatever; Margaret, whatever; and Gore-Something, a damn hard name to remember. He started towards them when whack, a tray full of champagne engulfed him. Maconochie, serving as waiter, had somehow collided with him. Fortunately, he was mostly splashed in the face and not in his suit. Cursing Maconochie, who was full of apologies, he divined it a waste of time to skin the bastard so he moved on. Handkerchief in face, he approached the group.

‘Damn shame those wasted champagne, it would’ve been nice to have a lick at them,’ mused Bertrand.

He wanted to gouge the man’s eyes, the nerve of him to feel sorry for the champagne he thought, but instead he said smiling, ‘You can have a lick at my face, if you want. You might get a drop or two out of me, some sweat’s sure to come along with it though.’

‘Oh thank you very much, but I’d have to decline your tempting offer.’ Bertrand said this with a little smile.

JR whiffed a faint scent of a sexual advance in the overall effect of the remark and the smile. Was this Bertrand character flirting with him? he laughed. ‘So what do you guys think of the new novel?’ he started. Nobody minded his question. He had to find a better opening. Of course, they wouldn’t simply bite. He would have to work for it.

He moved to a spot beside Gore-Something and said “We’ve met a few days before, remember?”

Gore-Something replied “Ahh, yes. I remember you.. what was the name again, sorry?”

“J R, JR Bacdayan”

“So the letters J and R are both spelled individually without making use of their sound? Hmm.. a curious name. A curious name, indeed. I would have thought that a name with two letters would be easy to say, like Jo or Ty. Easy to pronounce, no? But to have to spell two letters, ahh, such hard work. Shall I call you Jay, for convenience sake, if you don’t mind?” Gore-Something said this with a bemused tone.

JR was a bit indifferent towards Gore-Something at first, he was a cheeky fellow but he didn’t look queer which was good though his name did suggest imbecility. But all this indifference towards Gore-Something developed into supreme hatred when the latter gave his little soliloquy about JR’s name. ‘The indolent fool,’ he thought to himself, ‘he doesn’t have the gall to pronounce my name does he? Well I won’t have it. I’ll make the limy bastard pay. I’ll make him spell the entire bloody alphabet.’

JR said in a loud booming voice, ‘Yes, I do mind, sir. I’d like to be called my name. I don’t like this lazy business about you, sir.’

Gore-Something looked wounded. ‘I was merely suggesting, old boy. You needn’t have to call me lazy. It was all for efficiency’s sake, see. All for efficiency.’

‘Do you not see the irony, my good sir?’ JR beamed, ‘You make everyone call you Mr. Gore-Urquhart!’ (Thank God he recalled the ridiculous name.) ‘A damn hard name to remember, much less say, sir. And yet you can’t pronounce a name as simple as JR?’ He ended this by giving a little smile, he hoped to dear God it wasn’t interpreted as a sexual advance.

‘Ha ha!’ laughed Gore-Urquhart. He was growing large beads of sweat on his gigantic amphibious nose. ‘I see you are quite the funny man, Mr. JR. A good joke. A good joke, indeed!’

JR got a bit confused, he wasn’t joking. At the very least he was partially glad that he didn’t offend Gore-Urquhart even if it was just what he intended to do. He would need the large-nosed bastard later on.

‘Why so serious, darling?’ chimed Margaret.

‘Oh I wasn’t, it’s as Mr. Gore-Urquhart said. It was a joke, nothing more.’ JR felt a bit thankful towards this distraction. A quick reconnaissance of Margaret suggested she was very drunk and very unrestrained. Not a very good combination considered JR. He would have to stay away from this trap, not that it was very hard. The poor woman wore mismatched colors and looked like the wretched offspring of a rainbow and a flamingo. He even noticed a bit of lipstick on one of her incisors. He flashed her a winning smile. Now this was unmistakably a sexual advance, he thought.

‘Mr. JR, what do you do exactly?’ inquired Carol rather out of the blue.

He felt a wave of nausea hit him. ‘Why did this woman want to know? She’s one of them smart alecks, I bet. Anyway, anyone named Carol must love Christmas, and people who love Christmas are the worst. God he could picture her sitting under a Christmas tree singing a bloody carol.’ He shuddered with the thought.

‘I write book reviews, Madame’ he said with a detectable trace of apprehension in his voice.

‘Oh, so you like books don’t you?’ Carol said this with a surging confidence as if such an original statement was never uttered before.

‘Oh, I abhor them. I’d rather read filthy magazines’ affable contempt pouring out of his voice now.

‘I see,’ replied Carol.

It took all he had not to break her neck. No she didn’t see, not even close. He gave her a slight nod.

Christine started laughing.

‘My my Mr. JR, you shouldn’t play with Carol like that,’ she said smiling. ‘She’s had a bit to drink so you musn’t take this obtuseness against her.’

‘I wouldn’t dream of it.’ he smiled back.

He felt himself staring at her. His affection for this woman was genuine. She was perhaps the most beautiful creature he’d ever laid eyes on. Luscious blonde hair, penetrating blue eyes, thick lips, perfect nose and high cheekbones on a perfectly symmetrical head and curvy body, he felt himself considering the word love. This was confirmed by his sweat glands, for he was now sweating rather profusely in the armpit area. He tried to maneuver a fake head tilt to disguise his attempt to smell it. His attempt failed, though he could see Christine trying hard to suppress a laugh. She moved beside him and whispered, ‘I’m sure it doesn’t smell that bad, let me have a whiff.’ He felt his heart stop. He couldn’t move. His body had failed him. ‘Dd.. dod.. don’t not.’ He stuttered. She slid a finger on his left armpit, rubbed it on her wrist and smelled it like she was smelling perfume. He was horrified.

‘I could get used to this smell,’ she smiled at him.

He recognized something in her look. This was his chance, he was going to roll the dice. He wished for luck.

He slid closer to Christine and kissed her. She didn’t push him away.

‘Oyy what do you think you’re doing to my girl!’ shouted Dixon.

‘I’m not your girl, Jim. I’m my own girl. I’ll kiss whoever I damn please,’ Christine looked quite flushed but the anger in her voice was discernible.

‘I’ll have a go at you, you wanker!’ cried Dixon. He jumped towards JR and tried to land a punch, but he was quite drunk and had double vision. He ended up fisting the air.

JR took the opportunity and shouted at Dixon ‘What do you think about the novel, Jim?’

Dixon cried ‘What? Are you trying to be funny with your novel, mate?’

‘It’s your novel.’ JR laughed at him.

‘Trying to be funny, are we chap? I’m bloody livid. I’ll wreck you and your nan and all this funny business.’ Dixon moved towards him.

JR took a swing and hit him perfectly at the bridge of his nose. Dixon fell moaning and didn’t get up. The group was looking at them, too drunk to care. They were smiling. Bertrand even shouted, ‘well done, fellow!’ Somehow the party went on like nothing of the fighting sort had happened. People were still dancing and cavorting like toads on a pond. ‘What an age,’ JR thought.

Tired of all this atrocity and fallaciousness he finally took his leave, Christine with him, and headed for the exit

Walking towards the door, Christine around his arm he whispered to her, ‘it’s my turn to be lucky.’

She kissed him on the cheek and they disappeared into the night.

[Jessica · Rating 4 out of 5]

It took me awhile to get into this book, but once I reached the second half I blew off all responsibilities and spent my entire evening lying on a pile of unfolded laundry, howling so loudly with glee I got scared that my neighbors could hear me. Yes folks, this novel literally made me LAUGH OUT LOUD. I cry at probably one out of two of the novels I finish, but I can't remember the last book that made me actually giggle.... oh yes I can, actually, it was by Martin Amis. Well, this one was funnier. I mean, it really was silly. There's a lot of physical comedy in here, which is weird, like actual Jim Careyish, Jerry Lewisy kind of stuff -- the main character's always making funny faces, which is strange in a novel and I'm not so sure what I think of it. A lot of the humor in here isn't normally my favorite brand: the cringe-inducing, bumbling foot-in-mouth, downward-spiraling catastrophe stuff doesn't do much for me at the movies, but this guy's use of language is just so lethally great, and it all kind of worked, and made me laugh and laugh. I don't know why these Amis guys are so amusing. I guess because they're English, and for some reason English people are often very funny.

Anyway, I do agree with that cliche that comedy's tougher to pull off than the serious stuff, and that it should get more respect than it usually does. This is the classic campus satire written in the 1950s by Angry Young Man Kingsley Amis, and it includes, as my sister noted, literature's best description of a hangover. For me, a lot what makes this book work so well is Amis's gift for creating very real characters amidst these goofy situations. I mean, obviously they're not real characters, I guess they're comic caricatures, but what makes this book so funny and great is all the moments of recognition where you go, "YES! This is TRUE! That is HOW PEOPLE ARE!" At least, that's how I felt for a lot of this. Many people have noted that the female characters here are misogynistic and poorly drawn, and while I see how you could argue that, to me it didn't matter because the feelings of the main character for them were just so dead on. The relationship between Jim and Margaret is so chillingly like life, and the point that he's so nuts for the bland, personality-deficient pretty girl is also realistic.

One of the things I learned from this book is that in the fifties apparently women didn't need to buy cigarettes, since men constantly had them on hand and were always offering them to the ladies. I think this convention should come back in style! I love this idea of exacting a sort of nicotine toll for the privilege of being around me, plus not being tempted by walking around with my own supply would be healthful.

I sort of wish I'd reviewed this book before returning it to the library, so I could grab out some quotations and make you scream with uncontrollable mirth.... For example, Dixon had read, or begun to read, dozens [of scholarly articles:] like it, but his own seemed worse than most in its air of being convinced of its own usefulness and significance. "In considering this strangely neglected topic," it began. This what neglected topic? This strangely what topic? This strangely neglected what?

Haaaah! Hah hah hah hah hah! Oh, obviously it's better in context, like everything. Hah hah! Okay, an admission: there have been a few occasions over the past several years when I've felt twinges of envy for my friends who've run off to get a "doctor" in front of their names, to live the Life of the Mind and write Scholarly Articles with lots of colons in the titles. Lucky Jim helped me resign myself to my doctorateless fate, by reminding me that if I'd somehow managed to make it through grad school, my academic career would've surely ended in a humiliating, single-malt-scotch-fueled disaster.

Anyway, I don't have any personal insights or anecdotes connected with this novel, but I did want to go on record as recommending it. I am pretty much in favor of anything that makes me laugh. Lord knows I need it. You probably do too.

[Shovelmonkey1 · Rating 2 out of 5]

Meh.

What happened? I was really looking forward to reading this having become a fan of Kingsley Amis and his random assembly of hapless, oh-so-british characters after reading The Green Man (its on the 1001 books list so check it out!) and so I picked up Lucky Jim.

Meh.

The trademark and original (this was his first book) Kingsley characterisations were here but this time they all seemed flattened and thinly stretched. Like that last pan cake when you're running out of batter. All of the characters became a series of faceless, bodiless names floating around inside my brain and after 50 pages I was struggling to keep track of who was who and why I should give a damn. Dixon, Welch, Margaret, Bertrand, Christine and a whole cast of academic sub-characters, malingerers and hangers on swirled together in a sort of raspberry ripple (sticky, bland and atypically British) of socialising and snarking.

I know this book has a whole heap of admirable pedigrees and background with characters, situations and places being based on Philip Larkin- a homage - while the sending up of the academic community is something that I, as a fringe loiterer of said community, would whole heartedly applaud and encourage more of. Two stars have been begrudgingly awarded because maybe there was something that I overlooked here. Maybe I'm just too dumb? Maybe my satire button was switched off today? Whatever the reason, I think that if the characters were a) better described b) less interchangeable c) smarter then I'd have probably raved about this book.

[Terry · Rating 5 out of 5]

The gold standard for seditious British humor. As an old man, Kingsley converted to a Tory welcome at all the best clubs. However, when he wrote this diamond he was a Trotskyite undergraduate who had seen combat while most of his contemporaries had not. Most of his dons at Oxford sat out the war as well. He already decided he had had enough of rules & regulations in the Army. Yet he must get on in college somehow. Most of the book depicts Kingsley's sometimes clandestine, sometimes open warfare with the British class system.

In his Memoirs, Kingsley stated that one of his discoveries at Oxford was that he had "a head for drink". In this book, he does in fact drink a good deal, usually with rollicking results.

The book can easily coax belly laughs out of me forty years after reading it: the author accidentally sets fire to his bedclothes while staying overnight with his professor; he clumsily attempts to hide his accidental arson from the professor's wife; he brawls with the horrible Bernard (his professor's son); he boxes Bernard's ear while applying to Bernard an James Joyce oath; he romances Bernard's girl; finally he delivers his drunken lecture on 'Merrie England'to a huge frumpy audience, which finally ends his academic career.

[Steve · Rating 4 out of 5]

Despite the title, you don’t start out thinking of Jim Dixon as particularly lucky. He was low man on the totem pole at a provincial English university where the one on top, Professor Welch, was a quirky twit of a man —- absent-minded and egocentric with an excess of class prerogative. Jim was not so lucky in love either. The woman he was with, a fellow academic, plied whatever feminine wiles were available to one with a rather plain appearance. Christine, the more striking young lady Jim met and liked, was spoken for by Professor Welch’s son, a pretentious snob and complete lout. Jim himself was not dashing, he lacked ambition, and he had a penchant for the bottle that could get him in trouble. He was likable, though. Amis blessed him with a keen, sardonic wit and an ability to see through the BS. Jim would be a great model for a Judd Apatow movie: the slacker with a brain trying to get what he wants without stepping on any but the most deserving toes. I suspect most readers, like me, end up wanting to see the residue of Jim’s designs pay off.

The book was funny and well-written, but was also good for showing a different slice of life. It was published in 1954, an era when protocols were more proper and snide remarks were often just unspoken asides. At the same time, a certain political incorrectness seemed de rigueur, especially regarding women. This was also a period when the English equivalent to the G.I. Bill was in place and Amis knew from his own experiences as a university lecturer that cultural dynamics were changing. Lucky Jim was viewed as a victory for the common man. The snobatorium, with all its stultifying disdain for the masses, was given a right good comeuppance.

[Algernon · Rating 5 out of 5]

... but whatever the subject for discussion might be, Dixon knew that before the journey ended he’d find his face becoming creased and flabby, like an old bag, with the strain of making it smile and show interest and speak its few permitted words, of steering it between a collapse into helpless fatigue and a tautening with anarchic fury.

As we start the literary journey, our guide Jim Dixon doesn’t feel much like a lucky man. He’s trapped in a thankless job, teaching history at a provincial university in post-War England and having to endure the company of his boss. This tenured professor and head of the History department is a major bore and a snob, but Dixon hopes he can persuade him to renew his temporary lecturer job at the end of the academic year. The effort makes Jim bitter and angry and restless.

... he felt real, over-mastering, orgiastic boredom, and its companion, real hatred.

The novel was sold to me in recommendations as one of the comic masterpieces in modern English literature, but I confess I was slightly baffled by the angry vibe of the opening scenes. Luckily, I persisted, and very soon I was laughing out loud in the solitude of my quarantined apartment at the avalanche of misfortune that Jim Dixon manages to get tangled in as he visits with his boss for an evening of ‘high culture’ or tries to disentangle himself from his needy, clinging girlfriend or struggles to deliver a lecture on ‘Merrie England’ while stinkingly drunk.

Part of my enthusiasm comes from recollections of my first teaching job and some sentimental mishaps as a young man. Kingsley Amis truly puts this academic world into the spotlight, with all its pretensions and petty rivalries, the stifling pressure of paperwork and the rigid, often pointless structure of the curriculum. And of course, for both Dixon and young me, the never-ending penny-pinching and worrying about the future, rationing cigarettes and beers and going out with the gang until the next payday. Teachers, especially substitute ones, were never high on the paycheck scale.

It was a perfect title, in that it crystallized the article’s niggling mindlessness, its funereal parade of yawn-enforcing facts, the pseudo-light it threw upon non-problems.

Jim Dixon puts his hopes in a post-graduate thesis he wrote to improve his chances to have his contract renewed, even as he considers the whole effort futile, playing by the rules of an antiquated system he despises. This rebellion in mr. Dixon, his refusal to conform to expectations and to fit into a world he holds in contempt is what made me dub him a ‘rebel with a cause’. A little further reading after I finished the novel provided confirmation that Amis, even if the novel is not in any measure autobiographical, made good use of his own personal experiences and social encounters within the academic world, so much so that some characters like the Welches or Margaret can be identified from letters exchanged with his best friend, Philip Larkin.

‘the wrong people were in charge, had the money, had to be listened to and treated with respect.’

This passage from one of Amis’ letters holds the key to the anger manifested in Jim Dixon. The pulling of faces throughout the novel (crazy peasant face, Martian invader face, Eskimo face, Edith Sitwell face and so on) , his drinking bouts and his not-so-innocent pranks are the methods Jim Dixon deploys in an effort to maintain his sanity. They are also the source of much of the merriment that finally comes through the page as Jim makes valiant efforts to fit into the world of the Welches ( But it’s very pleasant to come down here and to know that the torch of culture is still in a state of combustion in the provinces. Profoundly reassuring, too. ) or to stay by the side of the volatile Margaret. Our sympathies (at least mine, I can’t really speak for other readers) are pulled in the direction of this self-destructive yet so wickedly funny anarchist who is not yet resigned with the way of the world :

All positive change was good; standing still, growing to the spot, was always bad.

... he threw back his head and gave a long trombone-blast of anarchistic laughter.

In the junk-room he nudged aside an archery target, making his crazy peasant face at it – what flaring imbecilities must it have witnessed?

With the addition of a couple of new characters, the pompous London painter Bertrand Welch and his demure fiancee Christine Callaghan, Jim Dixon is thrown even deeper into the soup, raging at the Bertrand’s duplicity yet deeply attracted by the girl’s beauty and natural conversation. When the going gets tough Jim Dixon finally has a chance to prove to the reader he is not just a clown with a bad attitude, and that was the moment when the novel went up one star in my appreciation. Jim demonstrate a keen intelligence and empathy for other people’s feelings, even the ones he holds in little regard. He also has scruples about deliberately hurting them and he yearns for a more natural, more honest interaction. I saved a couple of examples:

Whatever passably decent treatment Margaret had had from him was the result of a temporary victory of fear over irritation and/or pity over boredom. That behaviour of such origin could seem ‘so sweet’ to her might be taken as a reflection on her sensitivity, but it was also a terrible commentary on her frustration and loneliness. Poor old Margaret, he thought with a shudder.

Christine, so distant and disdainful at the first encounter, proves herself a kindred spirit, even if she doesn’t manifest the same appetite for smashing things up and getting into trouble. She makes an appeal to Jim to drop the cynical mask, not be so quick to judge and to give other people a fair treatment.

Don’t you think people ever do things because they want to do them, because they want to do what’s for the best? I don’t see how it helps to call trying to do the right thing caution or lack of guts. Doing what you know you’ve got to do’s horrible sometimes, but that doesn’t mean to say it isn’t worth doing.

A similar reversal of expectation is expressed in a discussion about the teaching profession – it’s a tough job, and often mishandled, but it’s something worth doing right. Dixon’s antics are a way to point out what needs to change.

‘It’s a waste of time teaching history, is it?’
‘No. Well taught and sensibly taught, history could do people a hell of a lot of good. But in practice it doesn’t work out like that. Things get in the way. I don’t quite see who’s to blame for it. Bad teaching’s the main thing. Not bad students, I mean.’

>>><<<>>><<<

My third reason for giving full marks to the novel is the masterful control of plot and language mr. Amis demonstrates. Having read several modernist novels preceding the publication of ‘Lucky Jim’ from the likes of Virginia Wolfe, Anthony Powell or Evelyn Waugh, even as I admire the results, I can’t help but notice how they were headed into an elitist, eclectic direction. Amis may be coarse and provocative, but he is careful and effective in his phrasing, he has a natural flow for dialogue and a sharp wit that cuts through every fake attitude or sentiment.
In opposition to the likes of P G Wodehouse, who I also admire but who is basically an escapist writer, Amis is engaged with society and militant and passionate and articulate.

The question of luck comes up towards the end of the proceedings, challenging our system of values in a world that has become even more obsessed with the outward appearance of youth and beauty and success since the novel was published. It sure creates psychological trauma that deserves more study and more support.

It was all very bad luck on Margaret, and probably derived, as he’d thought before, from the anterior bad luck of being sexually unattractive. Christine’s more normal, i.e. less unworkable, character no doubt resulted, in part at any rate, from having been lucky with her face and figure. But that was simply that. To write things down as luck wasn’t the same as writing them off as non-existent or in some way beneath consideration.

Finally, being angry and rebellious is OK and actually expected in the younger generation, but there will come a moment when you need to anchor your life in something more positive. Jim Dixon will be truly lucky when he discovers this purpose.

He thought what a pity it was that all his faces were designed to express rage or loathing. Now that something had happened which really deserved a face, he’d none to celebrate it with.

>>><<<>>><<<

I have come late to the party with this famous novel, but among the things that have become clear to me is that writers like David Lodge (“Changing Places”) or Richard Russo ( “Straight Man”) who penned funny books set in the academic world, didn’t spring out of nowhere and might have some tribute to pay to those writers who opened up the field before them.

[Yan · Rating 1 out of 5]

like accidentally ripping open a teabag but less exciting

[Julie Ehlers · Rating 4 out of 5]

Many years ago, I briefly dated a guy whose favorite book was Lucky Jim. I'd barely heard of the novel at the time, but I made a mental note of it, and for whatever reason I've now finally gotten around to reading it. I wish I'd read it back when I was dating him, because this portrayal of a totally clueless dude who sometimes hurts people but is completely astonished to realize he's done so because he sees himself as a pure and honest soul just fumbling around would have given me quite an insight into that guy's character. (It all makes sense now...) Still, even just as a regular reading experience, this was quite enjoyable--the characters vivid, the British humor (in England they just call it "humor") often quite hilarious, the depiction of academia amusing and, I'm willing to bet, spot-on. While the aforementioned guy ultimately brought little to my life besides heartache, I suppose I can at least be grateful that he led me to Lucky Jim.

[Carla Remy · Rating 4 out of 5]

12/2022

From 1954
Dry and funny, Jim is a lecturer at an (unnamed) university. He makes faces (when no one's looking). To express his frustration at life.
The core of the novel involves him having a drunken smoking in bed incident while staying at a professor's house. Luckily he doesn't burn the whole house down, but there are burnt sheets and a burnt table, and he has to scramble around, with the help of someone else's girlfriend, to hide the evidence.
I read this when I was young (10 or 11) because my mother always had this copy around (the one shown here with the Edward Gorey cover - in print for ages - from when he was a book cover illustrator).
I thought I remembered it being short, but it is not.

[Daphne · Rating 1 out of 5]

Sometimes I come upon a 'classic' like this...read it...and then question everything I thought I valued in good literature. Maybe it's me? Is it my taste and literary palate that sucks? I couldn't help but to constantly compare it to works by Wodehouse, and it came up lacking in every way.

The worst was probably when a female character went into 'hysterics' because Jim is an asshole. The solution? Another dude comes into the room and slaps her multiple times across the face then makes her drink scotch. She is then thanks them both profusely for smacking her.

*sigh*

[Jayakrishnan · Rating 4 out of 5]

I read John Osborne's play Look Back in Anger (1956) a few years ago. The play was very interesting to me because it conveyed the sense of anomie felt by the British as their empire which once seemed to be unassailable was now crumbling to pieces. There was a sense of despair and purposelessness in British society. I couldn't help but feel that even the idealistic Jimmy (the angry leading man in the play) was in some ways longing for that kind of world where people had a reason to live (like beating the Nazis or even conquering other lands). But Jimmy is disillusioned and angry with what he perceives as the lack of enthusiasm in post-world war two Britain.

The self-hating Indian writer Nirad.C.Chaudhary made the following observation about British society in his book A Passage to England, which he wrote after a visit in 1955 - "For individuals, as for nations; doing well in life and doing something in life are contradictory aims. The real test for the Welfare State will be whether it has been able to merge the two ends, so far as they can be merged. But it seems to me that this very important condition of the Welfare State's success is difficult of fulfillment in contemporary England. This difficulty is not due to an absence of men with a will to do something. The real trouble is that there is very little to do and it is very difficult to arrive at a clear perception of what to do. On this point, ever since the end of the war I have had a feeling that the English people are in the closing stages of one cycle of their existence and have not as yet entered on another."

Lucky Jim was written a few years before Look Back in Anger and A Passage to England came out. In Lucky Jim, Jim Dixon is involved in a lowly temporary job at a British university. Life is tough. His job involves trying to please the mediocre Mr.Welch, a senior professor who has the power to make Jim's position permanent, staving off the over-enthusiastic and bossy student Michie and waiting patiently for his paper to be published by a plagiarizing journal editor. His social life is also nothing to write home about. It involves attending singing weekends at Mr.Welch's house, suffering Mr.Welch's aggressive son Bernard who is an aspiring painter, trying to hide his attraction towards Bertrand's beautiful girlfriend Christine and also placating the neurotic and suicidal Margaret, who Jim feels is the woman he truly deserves. It is a life of self-repression and disappointment. The only relief is the copious amounts of alcohol and the rationed cigarettes that Jim consumes regularly. The novel has quite a few instances of Amis describing Jim's inner thoughts and how he tries to mask them by assuming ridiculous expressions on his face.

Jim is a bit like Jimmy, the angry protagonist in John Osborne's play and Nirad.C.Chaudhary might have been writing about people like Jim, in A Passage to England. Jim is an ex-RAF corporal and he finds it tough to fit in with the university crowd with its refined tastes and strict manners. He takes up the temporary job at the University because he did not think he would be any use as a school teacher. There seemed to be nothing else for him to do. I think Jim represents British youth who is inspired by American pop culture and consumerism (there is a bit in the novel where Jim expresses his preference for pop songs over Classical music that is preferred by the university crowd) which is at odds with the likes of Mr.Welch who represent the Old England.

Lucky Jim is a bittersweet novel filled with understated humor (it has one of the best descriptions of a hangover - His mouth had been used as a latrine by some small creature of the night, and then as its mausoleum.). I wouldn't be surprised if Ricky Gervais and Stephen Merchant were inspired by the novel when they wrote The Office (UK). Afterall, David Brent, Tim and Gareth exhibit many of the same maladies of the characters in Lucky Jim.

[Wayne · Rating 5 out of 5]

I didn't know much about this book, but had seen it on a few "best novels of the 20th century lists." I took it on a trip to Toronto with a few other lightweight books, and read it last. There were two key aspects about the book that hooked me. The first was the wonderful cast of very memorable and slightly crazy characters. Even the protagonist -- one Jim Dixon -- was host to several quirky characteristics. Yet the author managed to stay within the bounds of belief.

The second aspect was the writing: the author, Kingsley Amis, is a marvelous wordsmith and storyteller. Several times I went back and re-read sentences just for the sheer pleasure of reading the words again. And I found myself laughing out loud on many occasions.

I can't recommend this book highly enough.

[Matthew Ted · Rating 4 out of 5]

I bumped into one of the English lecturers at my University yesterday and we spoke about books briefly. I said I was reading Lucky Jim and it was cheering me up and he smiled and said, 'Oh yes, it's a cracker, isn't it?' And for some reason, that's a damn good way of describing it - a cracker.

[Patrick Brown · Rating 5 out of 5]

Among the best books I've read. Funny as all hell, and exactly the sort of funny I like. This is one of the few books I've read multiple times. Every few years I get the itch to read it again.