Forgiveness trumps Revenge

A Review of Amsterdam by Ian McEwan.

Having been made aware of Ian McEwan through the film adoption of his novel Atonement, I mentally shelved him away into the “popular/chick-flick/Jodi Picoult-brand” section of my mind after skimmed through the DVD of Keira Knightley’s lost love. I also vaguely recall his name being mentioned at the centre of a controversial, cross – Atlantic review battle regarding the merits of his novel Saturday. However it wasn’t until meandering through library shelves that I was surprised to find that an earlier novel of his, Amsterdam, had won the 1998 Man Booker Prize, so I decided to him a shot.

Amsterdam describes the friendship of two men, both the lovers of the recently deceased Molly Lane, and both struggling to cope with work deadlines and employer expectations. Clive, Britain’s most successful modern composer has been commissioned to write the Millennium Symphony. Overworked and unable to capture the finale of his masterpiece, he hides hermit-like in his studio apartment racing to finish before the deadline. His friend Vernon is the newly elected editor of a quality, but failing newspaper. In order to retain old readers, and capture new ones, a breaking story is needed. Molly Lane who died slowly and with little undignifying, also had other lovers, among them the rightwing Foreign Secretary tipped to be the next PM. In the days following her death, Clive and Vernon make a pact to help the other in quickening their deaths, if need be, through voluntary euthanasia, so as not to suffer as she had.

When a story, linked to Molly, surfaces which would increase sales, save his job, and influence the upcoming election for the better, Vernon’s ethics and friendship are questioned by Clive. The confrontation leads to miscommunication and spiteful vendettas which consequently end in both men’s destroyed careers. In hatred the two friends unwittingly use their earlier pact in revenge to devastating and tragic effects.

The novel explores morality, forgiveness, and the ethical nature and pressure of the modern working environment. The sacrificing of morals in the interest of furthering oneself up the career ladder is not a new notion for Christians, and McEwan endorses the need for restraint in unconscientious self-interest. Vernon’s need to run the story meant compromising his morals, which cost him his friendship and subsequently also lead to his dismissal. McEwan highlights the bitterness and malice that arise and fester in the soul when hurts aren’t healed and forgiveness isn’t shared. The fatal feud between Clive and Vernon could have been hindered from escalating with sincerely placed words of forgiveness.

As always, society’s changing pluralistic values and attitudes are captured by the novel and mostly endorsed. The lives lived by the characters are mirrored by many of our friends and family members. Nevertheless this contemporary morality tale still reveals truth – if someone wrongs you, forgive them, seventy times seven.

I always find it interesting that self-proclaimed atheist writers, such as McEwan, despite their denial of God, still uphold biblical principles and values, possibly unbeknownst to them. Arguably the novel’s ending is conceited, as many critics have pointed out, but the characterisation, imagery, and themes raised make this tragic saga a worthwhile read.

Joshua Zane Eicker