All in all, this relatively short novel supports great writing with a masterful narrative design. As author, he handles the transitions between his two characters' view points with astounding stylistic assurance. McEwan's adroitness at characterization and his deftness at dialogue show through these astounding chapter-length psychological studies. There is true genius not only in McEwan's plan for Clive's and Vernon's stories but also in their relationship to each other and to the plot. By utilizing alternating chapters and dueling points of view, McEwan develops his study in friendship into a dark psychological portrait of descent. He somehow manages to draw suspense out of two men's professional and personnel breakdowns, revealing a twisted horror story lurking underneath a tale seemingly meant to address undying friendship and love. Amazingly lucid prose aside, the power of Amsterdam lies in McEwan's devilishly clever narrative plan. It is also something of a thriller, which, combined with its brevity means there is little of the plot that can be. I am not sure what to say about Amsterdam. As his newest novel Amsterdam shows, McEwan holds few peers. A study of heartlessness and hypocrisy in the face of contemporary moral dilemmas, it is a short, sharp, well-crafted novel.
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