As Martin Amis once said of him: 「Ballard is quite unlike anyone else; indeed, he seems to address a different – a disused – part of the reader's brain.」
就像马丁·埃米斯曾经对他做出的评价:「巴拉德与所有人都完全不同,他似乎在向读者大脑中的不同的、从未使用过的区域诉说。」
If modernists such as Virginia Woolf relished depth and metaphysics, then postmodernists such as Martin Amis favoured surface and irony.
如果说现代主义者如弗吉尼亚·伍尔夫爱好深度和玄学,那么后现代主义者如马丁?艾米斯则偏好表象和讽刺。
Many senior figures of the British literary establishment are postwar babies: Martin Amis (1949), Julian Barnes (1946), and Ian McEwan (1948).
许多英国文坛的资深人士都是战后的小孩:马丁·艾米斯(1949)、朱利安·巴恩斯(1946)、伊恩·麦克尤恩(1948)。
Martin Amis likes to quote Julian Barnes as saying that novelists write 「around」 their themes rather than 「on」 them.
马丁艾米斯喜欢引用朱利安巴尼斯的话说,小说家写「绕」而不是「主题」。
Martin Amis has suddenly-and unexpectedly, even to his publishers-turned in a work of real worth, a novel that not so much makes the spine tingle as the heart race at its passion and richness.
马丁·埃米斯突然,甚至连他的出版商也没有意料到,推出了一部货真价实的作品,一部富于激情,内容厚实,让人心潮澎湃的小说。