“It’s the kind of thing you do when you’re young. You write about your heroes, and then you actually write to them,” says Vogue writer Taylor Antrim.
them. In my case the hero was Martin Amis, a writer I read in my early 20s in a trance of admiration. This was the mid-to-late ’90s, before we had smartphones, but a paperback ofperformed the same trick of attention. I’d hold it in my hand, head bent as I moved along sidewalks, experiencing Amis’s sentences as small explosions of pleasure, nearly stepping into traffic, buses blaring me back to myself.
I was hardly the only young aspiring writer dazzled and seduced by Amis. He was a superstar by this time—later I’d discover the Barnes & Noble in Manhattan’s Union Square held his books behind the register to deter shoplifters. You could read about him on gossip pages, and his latest novelwas being viciously reviewed . And yet for me, the experience of devouring his books was so pure and startling that none of that mattered. Amis may have been world-famous, but he was also completely mine.
That may sound obvious, but it’s not. Amis was chided for pyrotechnics, as if his sentences were ornamented, as if the way he wrote was a choice he made to dazzle and show off. FromThe Rachel Papers
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