The end of the story - with everyone actually using Self's money - was fairly surprising. Amis portrayed Fielding the entire book as someone trustworthy and fairly likable. Even Self had "probably been deeply in love with Fielding from the moment [they] met" (301). It was only mildly suspicious that he kept encouraging Self to spend money. But Fielding was an actor, an artist. "They were all actors," says Martin Amis the character (332). Even the actors were actors, funnily enough. Maybe the Shakespeare throughout was hinting at this. Many events were certainly dramatic and theatrical enough. But even looking back, I don't feel it was all that obvious. Perhaps reading it again, I'd see clues I missed.
The Shakespeare bits were interesting in and of themselves. I particularly found it fascinating that Barry Self owns the Shakespeare. He's like Claudius (of Hamlet) - the not the father father figure. He, as we later learn, is not John Self's father, but has acted as if he were (once again, with the acting). Like Claudius, he is manipulative. He owes Self money, but manages to avoid paying him (through manipulation). In a way, Self himself is like Hamlet - a sad, sometimes mad person who has been tricked. However, he does not get his revenge, but nor does he die.
In terms of how acting relates to the themes of Money - acting gets you money. Some just do it differently than others.
No comments:
Post a Comment