Like many others, I was both taken aback and intrigued by Mark O’Connell’s essay on Invasion of the Space Invaders, Martin Amis’s disavowed 1982 guide to early arcade games. But I seem to be drawn to the subject for different reasons than many of these other readers and commenters, or even O’Connell himself—because I’m not, as O’Connell professes to be, “an Amis fancier,” and because honestly I wish Amis-fancying weren’t still as widespread as it is. One detail O’Connell identifies as a probable reason for Amis’s desire to keep the book out of print is that its catalogue of all the weirdo types supposedly visible at arcades in the early ’80s includes “[q]ueasy spivs, living out a teen-dream movie with faggot overtones,” which is supplemented by a definition in the glossary at the back—”Faggot: gay.” But that isn’t even what I’m interested in, really. Though as a queer teen I would have loved to live out that movie.
What interests me is the gesture O’Connell makes toward situating this book within Amis’s career, which I think is worth briefly extending. Having quoted one of Amis’s thorough, matter-of-fact instructional passages on actually playing Space Invaders—”The phalanx of enemy invaders moves laterally across a grid not much wider than itself. When it reaches the edge of the grid, the whole army lowers a notch. Rule one: narrow that phalanx“—O’Connell ends the essay with some notes on the structural and thematic importance of games to Amis’s work as a novelist and public thinker. O’Connell’s way of describing Amis’s phobic, martial hostility toward perceived commonness of thought—his “war against cliché,” with its proudly explicit anti-democratic elitism (and its attendant, eternal fetishization of an unbelievably limited definition of “talent”)—is to say that Amis seeks “new ways of narrowing the ever-descending phalanx of cliché.” All value judgments aside, I think there’s something strikingly apt in this picture of the way a writer like Amis conceives of his vocation; and if (like me) you see Amis’s brand of aestheticism-at-the-barrel-of-a-gun as inseparable from, I don’t know, his concern that “feminism has cost us Europe,” or his regret at feeling unable to complete a novella about an “Islamist terrorist” named Ayed who “scour[s] all the prisons and madhouses for every compulsive rapist in the country, and then unleash[es] them on Greeley, Colorado”—if, in other words, you see Amis’s war as a war in defense of extreme cultural privilege, against a feared encroaching otherness, based in an imperial nostalgia which in the last decade has evolved into virulent Islamophobia—then it’s especially interesting to find, thirty years back in Amis’s own work, a proto-allegorization of the figure of the writer who’s literally engaged in the unending task of fending off the alien(s).
My aim here isn’t to make any simplistic claim about the cultural meanings of an artifact like Space Invaders, or to say that such a game can be read only in one way. (I’m sure folks who are better versed in game studies could offer many other points about this—but, for instance, see Sianne Ngai on the zany aesthetic of early arcade games as a model for post-Fordist precarious subjectivity.) I would only suggest that it’s worth setting the existence of Invasion of the Space Invaders (its jokey title implicitly asking, “What else would you expect space invaders to do?”) alongside, say, Amis’s current habit, when he’s pressed on the subject of Islamophobia, of talking about creatures from outer space. (Amis in the Guardian in 2007, in an article titled “No, I am not a racist,” denying he had defended the discrimination against Muslims that he had defended: “I would like London to be full of upstanding Martians and Neptunians, of reputable citizens who came, originally, from Krypton and Tralfamadore.” Amis to Margaret Wente, two years later: “I adore multiracialism. There can’t be enough immigrants in this country for my taste. I’d like to see immigrants from Mars or Jupiter. But multiculturalism, I believe, is a fraud.” This is Martin Amis’s way of saying, “I don’t care if you’re black, white, brown, yellow, purple or green.” He doesn’t care if someone comes from the Middle East or from a made-up planet that no one would come from, because it’s made up: all he wants is to keep terrorists out of the phalanx!) And, I would add, it seems worth noting that Amis and his lifelong comrade Christopher Hitchens (whose presence as “a friend, a hard-drinking journalist” O’Connell detects in one passage from Invasion) wrote, in effect, the same paragraph, about, respectively, the introduction of Space Invaders and the destruction of the World Trade Center:
The main innovation of Space Invaders was as follows: it gave you real drama on the screen. Who cares whether you can eliminate dots with an electric tennis ball? So what if you can knock down ten plastic cowboys on a shooting range? Who gives a toss when a toy car skids on a patch of toy oil? After Space Invaders, we were defending Earth, against monsters, in sublunar skies. Here they come again…
[from a PDF excerpt from the book, via a comment on O'Connell's article]
On examination, and to my own surprise and pleasure, [my reaction] turned out be exhilaration. Here was the most frightful enemy—theocratic barbarism—in plain view. All my other foes, from the Christian Coalition to the Milosevic Left, were busy getting it wrong or giving it cover. Other and better people were gloomy at the prospect of confrontation. But I realized that if the battle went on until the last day of my life, I would never get bored in prosecuting it to the utmost.
Granted, Amis’s own immediate reaction to the attacks didn’t have Hitchen’s undisguised glee, his “exhilaration” at knowing he would now be able to stave off boredom forever, as if he actually were blurbing an arcade game. (Amis may even have been one of the “better people” Hitchens was taking a swipe at for feeling “gloomy” about watching the Global War on Terror kick into gear.) But it’s difficult for me not to interpret the image of a young Martin Amis self-consciously slumming it in a video arcade in 1982, and taking a sharp satisfaction in the new responsibility of “defending Earth,” as an eerie prefiguration of the way Amis, Hitchens, and so many of their generational peers would seize on “the struggle against Islamism” as the revitalizing force that would give new meaning to their lives and their countries’ lives. Here was a chance to start defending the West—finally, here was real drama on the screen.