Martin Amis’s first three fictional works both embody and illuminate his complicated relationship and attitude to genre. In all three – The Rachel Papers, Dead Babies, and Success – Amis appropriates existing genres or genre tropes while eluding many of their strictures. He does so by employing distinctly postmodern narrative strategies (unreliable narrators, intertextuality, metafictional asides, parody, pastiche) that emphasise the subjective nature of reality and destabilise traditional ideas of identity and agency. The resulting hybrid fictions blur boundaries not only between genres but between individuals and the cultural discourses that shape their consciousness.