Martin Amis. "Money" Review

Do you need a rug rethink? Does your upper west side howl in pain in unison with your tinnitus? Are you overweight and addicted to junk food and painkillers? Do you wake up and go to bed with a heavy hangover every day? Are your biggest pleasures in life cheap food, cheap booze and cheap sex? Even if you said yes to all of the above, you may still be a much more fortunate guy than John Self. John is just a man who's got everything he wants, but he wants none of it.

John Self is is the colorful main character in Martin Amis's novel “Money. A Suicide Note.” Self, a notorious commercial producer finds himself living between London and New York in pursuit on the next big thing: directing a Hollywood film with a potential for wild success and wild profits. He feels like like fish in the ocean in both countries, for he is of American-English descent. And if in London John presents a materialistic, superficial, money-hungry new-era man with a passion for primitive consumption, in New York he is tenfold that. John is the producer, product and the consumer of the disposable junk culture of the eighties. He is known for authoring scandalous TV commercials for tobacco, junk food and pornography magazines. At the same time he admits to being “stupefied by having watched too much television.” He spends everyday pursuing all things cheap, addictive, and quick, though he's got plenty of spare time. John lives the life dictated by his time (the 80s) where money is god, and god will get you anything you want. Thus, his typical day goes somewhat like this

“Now the way I figured it I had six realistic options. I could sack out right away, with some scotch and a few Serafim. I could go back to the Happy Isles and see what little Moby was up to. I could call Doris Arthur. I could catch a live sex show around the corner, in bleeding Seventh Avenue. I could go out and get drunk. I could stay in and get drunk. In the end I stayed in and got drunk. The trouble was, I did all the other things first.” Although Self seems and feels at the top of the world, Amis maintains that the experience is inevitably spoiled by [Self's] recognition of the superficial and vulgar nature of consumption and indulgence.

People surrounding Self also symbolize materialistic, consumerist, status-oriented nature in various forms. John has a girlfriend. Her name is Selina and this is the only thing about her we know for certain. Well, other than her passion for “top-dollar underwear” and other luxury spending, and possible involvement in pornography which Self is so addicted to. It seems that John has developed some sincere, meaningful feelings (an unlikely occasion for a superficial man) for the woman; it is her presence he yearns for “during the black hours, when I am weak and scared.” However, John realizes that she, too, is here for the money. He admits: ‘While making love, we often talk about money. I like it. I like that dirty talk.’ He goes on to realize: she does ‘all this not for passion, not for comfort, far less for love ... she does all this for money. I love her corruption.’ Selina is not the only woman John is attracted to, but they are majorly similar for one feature – they present a trophy, status, object of primitive desire. Women are mostly described as sex objects. Several actresses are portrayed as successful, educated, and somewhat resemble members of upper class. These women clearly represent a trophy figure to Self. Self's “money-making” buddies are in the same race after money, status, and luxury. Fielding Goodney, Lorne Guyland, Spunk Davis the are all in the money business: actors, producers, “money-men”. And they are successful, and they exist in luxury and indulgence; but there's little else a reader may find engaging in the nature of these characters.

For Self money is a deity who can take him and “his kind” to higher places in life without having to acquire class and education: “You're so democratic,” he refers to money, “you've got no favorites. You even things out for me and my kind.” His kind is the new-money crowd: cash-rich and pleasure-oriented. Their richness is limited to their wallets, however: there is no eagerness to acquire educational, aesthetic, or moral capital. Nevertheless, Self is constantly striving to get closer to the upper-class members, break into their circles. His attempts fail time and time again as he finds himself cruising pubs, brothels, and computer game arcades. The tension between the two classes is obvious as John comments during a debauchery (with his “money-men” buddies) at an upscale restaurant, “I suppose it must have been cool for people like them in places like this before people like us started coming here. But we’re here to stay.” Such contrast between the “new-money” and the cultured world makes a statement that money can only take one so far.

It is likely that many readers will find it difficult to empathize with John Self. Although many could relate to Self's sins and flaws, reader will feel morally and culturally superior to the character. But should he? Perhaps, Self isn't completely lacking deeper, more noble, or anyhow admirable characteristics; perhaps they were masterfully concealed by the author and may be found in between the lines? On every page, however, Self kills any such hope with his actions, thoughts, and confession like “perhaps there are other bits of my life that would take on content, take on shadow, if only I read more and thought less about money.” May some sympathy be kindled if we realize that John is simply a victim of this culture of disposable values? He is addicted to these values like he is addicted to drugs. He wants to quit, but can he do that without quitting the world he lives in? To him the only way to emerge from this hole is to change his appearance. And that, as we discover, doesn't save him either.

Money makes an impression of a “love or hate” literary piece. Unlike traditional novels Money is a work of language, not plot. It is language, raw, vulgar, fast and furious, that carries a reader through a rather primitive chain of events. In total, the novel may be seen as social critique and as such it should win some recognition. Amis masterfully exposed heavy flaws of modern capitalist/consumerist society through the portrayal of one unfortunate and despicable man's life.

Caravaggio's Bacchus

 Caravaggio. Bacchus.

Caravaggio is named one of the most controversial artists in history, partially because of the crude fusion of the divine and the almost vulgar realism often present in his work. One of the examples of such composition is Bacchus, Caravaggio's early work commissioned by Cardinal del Monte. In the painting a young man is portrayed lounging beside a basket of fruit and a carafe of wine. He appears to be satisfied and relaxed, offering the viewer a glass of wine of which he, evidently, has had plenty.

The young man is purported to be the Greek god, Dionysus (Bacchus for Romans). A major feature of the painting is the prosaic portrayal of the deity. One the one hand, Caravaggio uses several techniques common to religious paintings of the Baroque period. For example, chiaroscuro, a technique of creating a strong contrast between light and dark tones, makes Bacchus' figure appear transcendental with its light glowing palette against the deep dark ocher of the background. The garland of grape crowns the boy's head as he delicately holds the glass of wine, as is appropriate for the god of grape harvest, wine and ecstasy. On the other hand, many details of the composition make the character appear rather earthly. The color constitution of the figure reveals ruddy face and hands, while the rest of the body is noticeably lighter, possibly implying that the boy earns a living by working out in the sun (gods are unlikely to burden themselves with labor). The color of the sheet upon which the boy lounges unveils it's stale and worn condition, similar to that of the dirty mattress peeking from underneath. The basket in front of Bacchus is overflowing with fruit. A closer look reveals, however, that the fruit is overripe and rotten, possibly depicting the fleeting nature of life and everything material.

Bacchus was created while Caravaggio was under Cardinal del Monte's patronage. The painting was commissioned to satisfy Renaissance Humanism interest of the Cardinal and his erudite circle. Cardinal was known to hold extravagant gatherings at his residence. Bacchus, for instance, was created at one of such gatherings, where Mario Minniti, a half-drunk teenager then (prominent Italian artist later) posed as a model for Caravaggio (it is known that Mario Minniti modeled for several other paintings by Caravaggio). Cardinal del Monte commissioned about 40 painting from the artist. Effeminate young men were frequent subjects of these works. Considering that Cardinal also threw parties where young men dressed up as women, it is often thought that he had homosexual tendencies. Same is often said about Caravaggio, many of whose paintings depict emasculate, scantily clad young boys. The artist was described by contemporaries as a harshly down-to-earth, unconventional and brute man. These qualities have found their way into the artist's work: even in religious-themed paintings Caravaggio refrained from the perfection, smooth lighting, harmony and mannerism common to the works of Rafael and Michelangelo. Instead he focused on the flaws and limitations of the human nature.

Although Bacchus has no clear references to monetary matters, it displays the nature of materialism innate to money. For centuries money, though useful as it is, has been regarded as a source of everything evil, vulgar and vile. Everything saint, noble and quintessential exists separately from materialistic affairs. Such view was illustrated in the works of mentioned Raphael and Michelangelo where people are portrayed in brilliant colors, often deluged in the bright and clear daylight, their poses gracious and their faces saintly. These paintings are distinct by color balance and harmony arranged in delightful intangible patterns. Just like materialism spoils highest virtue and nobility, Caravaggio's realism brings the saints down to earth. He degrades them to the level of our mortal nature by making them vulnerable to human vices like gluttony, lust and imperfections of physicality, all present in Bacchus. The artist shows that humans (represented by Bacchus) are easily lured into simple pleasures, which are affordable for a small pay, unlike the gods who perceive these pleasures as secondary to their virtuous grandeur.

Ignoring the rules of other geniuses of art, Caravaggio brought materialism, realism and emotional candor into the classical art and forever changed its course.  

Mortgage Crisis

The Mortgage Crisis of 2008 was a major part of the Global Economic Crisis of the late 2000s. In fact, many believe that the housing bubble formed in early 2000s lead to the world-wide economic tumult. Numerous factors caused the disruptions in the credit and housing markets, among which were financial speculations, risky mortgage instruments and lending practices, inadequate monetary policies, and inability of borrowers to keep up with their mortgages. Though the economy, and particularly the housing market, is still struggling to get back on its feet, data illustrates several improvements such as decline in foreclosure and delinquent mortgages.

Investment Banking was, undoubtedly, a major vehicle of the boom and bust of housing market. An investment bank, unlike traditional banking, does not lend to or accept deposits from clients. Instead, it act as an broker and/or underwriter assisting corporations, as well as governments and individuals, in financial transactions (e.g. issuing securities, proving consulting services to investors, trading of derivatives, etc.). Because housing market of 2000s was more of a financial, rather than commodity market, and was operated by many intricate fiscal instruments, investment banks (specifically their risk-taking nature) played an important role in its development.

Subprime Mortgage is one of the innovations of banks pursuing policies of predatory lending. These mortgages were given to borrowers whose credit was either nonexistent or so poor, that they would not qualify for a conventional mortgage. Many of the subprime mortgages were Adjustable-Rate Mortgages. Unlike fixed-rate mortgages, the ARM interest rates fluctuate in response to the market interest rates. The rates during the initial payment stages are also generally lower than those on the fixed-rate mortgages. Such accommodating mortgages clearly pose the risk of a default because at some point the borrower, given his already unstable situation, will not be able to pay off his mortgage. Many borrowers counted on refinancing to deal with the principal repayment and the increasing monthly payments. However, when refinancing didn't happen, most borrowers defaulted.

Credit Default Swaps, like other financial derivatives, are used to hedge risks. CDS allows the transfer of the third party credit risk from one party to the other. One party in the s a lender and faces credit risk from a third party; the counterparty in the credit default swap agrees to insure this risk in exchange of regular payments.

Collateralized Debt Obligations is another banking innovation which essentially distributes credit risk to numerous investors by selling mortgages. Investors are then paid according to the level of risk they acquired through certain loans backing each CDO (also known as tranches). Consequently, CDO were seen to relax lending standard further.

The Troubled Asset Relief Program (TARP) was implemented in 2008 by the Bush Administration as a part of the Bank Bailout Bill. The $700 billion program essentially established a reverse auction stage where banks could announce bid prices to sell their mortgage-backed securities to the Treasury Department. The main purpose of the program was to increase the liquidity of the secondary mortgage markets by purchasing the MBS, and through that, reducing the potential losses to the institutions which owned them.

Despite the deep shock to the housing market, and its long-lasting consequences, the data shows improvements partly indicated by the changes in foreclosure and delinquent mortgage rates. Foreclosures and delinquencies surged during 2008. In 2009 the country saw widespread losses with a record total 2.82 million homes facing foreclosure. That year bank repossessed a total of 918,000, a 6.5 percent increase over 2008.

Foreclosures were concentrated in particular states. In Nevada, for example, more than 10 percent of homes were in the process of foreclosure in 2009; in Arizona and Florida it was about 6 percent. In California, 632,573 housing units received a foreclosure filing in 2009, or 4.75 percent of all homes. James J. Saccacio, chief executive officer of RealtyTrac said that 2009 numbers “probably would have been worse if not for legislative and industry-related delays in processing delinquent loans.”

As prices continued to fall, 23% of all homes in US were worth less than mortgage loans by September 2010, providing incentive for borrowers to file foreclosure.

2011 saw fewer than 2 million foreclosure filings, that's more than a 30% decrease from 2.9 million in 2010. In March 2012 198,853 foreclosure filings were reported, a 4 percent decrease from February and a 17 percent decrease from March 2011. March’s total was the lowest monthly total since 2008.

Approximately 1.4 million homes, or 3.3% of all homes with a mortgage, were in the national foreclosure inventory as of September 2012 compared to 1.5 million, or 3.5%, in September 2011. From August 2012 to September 2012 the national foreclosure inventory was down 1.1% . California, Arizona, Nevada and Florida were still leading the foreclosure parade with 20 highest foreclosure rates, as of October 2012. Most recently, foreclosure filings were reported on 150,864 U.S. properties in January 2013, a decrease of 7 percent from the previous month and down 28 percent from January 2012.

Though heavy consequences of the crisis are still felt throughout the country, the housing market seems to gain strength and stability. Government and housing industry policies allowing homeowners to pursue refinancing, short sales and loan modifications undoubtedly account for the improvements.  

 Today most of us seem to take money, or rather the concept of its existence, for granted. It's been there since modern human was born, as well as centuries before, and it will likely be there long after. Not many contemplate on how and when money as we know it came into being; it is also unlikely that an average academic program of a compulsory education includes an extensive inquiry into money as a concept. Nevertheless, when asked general questions about money people seem to have abstract ideas about its origin, “character”, and the influence on the human kind.

According to Richard Seaford, the notion of money as a means of exchange first appeared after 5^th century BC, which was also the speculation of most participants. Seaford explains that the “increased importance of money [as well as] survival of more substantial texts” from that period allows for more extensive information than that from earlier time, or even the following century. The “character” of money in that period, however, was substantially different than in modern time. First, money existed in the form of chunks of precious metals, rather than coinage. Second, its initial purpose was accumulation of “wealth” rather than exchange. When asked about the time of origin, most people recalled images of ancient Greek, Roman or Chinese coins seen in history books, museums, or on the TV. Some interpreted “money” as chunks of precious metal, pieces of wood, or other material.

Seaford gives several examples of what characterized money as money for ancient Greeks. First, money represented accumulation of wealth. In a commune which performs exchange of goods (e.g. fsh for potatoes), instead of currency, one may possess abundance of fish (or any other good) but is unlikely to be seen as “wealthy”. When money appears in the form of precious metal, the concept of wealth becomes more defined. Strangely, no participant mentioned wealth as a property that would make an object money. A few, however, talked about money being made out of valuable material, which may represent wealth (they were probably implying precious metal coins, rather that modern paper and copper currency). One characteristic of money noted by every participant is also discussed by Seaford: money as a means of exchange. For a modern person this is probably the most obvious attribute of money: one can get different things in exchange for it. In ancient Greece, however, money was initially used only as a symbol of wealth and status, or for settling feuds.

When asked about place and time where money may not exist, all participants mentioned early communes based on physical competition for and sharing/exchange of necessities, similar to Homeric realm described in “Money and the Early Greek Mind”. Seaford describes these practicec as violence, redistribution, and exchange of things. However seven more ways dealing things among people are defined: prizes, gifts,reward, compensation,ransom, slavery and bride-price (exchange for people).

On the technical side of money, about a half of participants believe that money in its physical presence will soon disappear. Judging by increasing popularity/use of the digital form of currency, bills and coins are believed to become increasingly inconvenient and unnecessary. Still, seven people believe that paper/metal currency provides a form of security and assurance, and will thus remain desirable.

The moral issue of money has probably existed as long as money itself. More often than not money has been describes as a necessary evil, said to breed avarice and acute self-interest. Prevailing number of participant believe that this may be the case. Five people, however, argued that money is merely the tool of achieving personal goals, and that self-interest is an objective concept, thus it is difficult to judge how much of it is evil or immoral.