Product Description

"A novel that seems to have been written with the term 'tour de force' in mind . . . Amis's radical rethinking of time . . . brings the abomination of the Holocaust home to the jaded late-20th-century reader in a way that few conventional novels could." Village Voice Literary Supplement. "Splendid . . . bold . . . gripping from start to finish."--Los Angeles Times Book Review.

Product Details

• Amazon Sales Rank: #61564 in Books
• Published on: 1992-09-29
• Released on: 1992-09-29
• Original language: English
• Number of items: 1
• Binding: Paperback
• 176 pages

Features

• ISBN13: 9780679735724
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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Amazon.com Review
Amis attempts here to write a path into and through the inverted morality of the Nazis: how can a writer tell about something that's fundamentally unspeakable? Amis' solution is a deft literary conceit of narrative inversion. He puts two separate consciousnesses into the person of one man, ex-Nazi doctor Tod T. Friendly. One identity wakes at the moment of Friendly's death and runs backwards in time, like a movie played in reverse, (e.g., factory smokestacks scrub the air clean,) unaware of the terrible past he approaches. The "normal" consciousness runs in time's regular direction, fleeing his ignominious history.

From Library Journal
For decades, writers have been striving to comprehend the Holocaust, and while its horror remains indelible, readers may wonder if there is another way of going over this relentlessly examined ground. In this swift, incisive little book, Amis succeeds in rendering the shock of the Holocaust wholly new by traveling backward in time. At the end of his life, the German-born American doctor Tod T. Friendly suffers a paralysis from which emerges "the soul he should have had." This innocent soul follows "time's arrow" back through Tod's stay in America and his flight to Germany, finally arriving at the concentration camp where Friendly, as Odilo Unverdorben, served as a doctor of death. Trying to discover "when the world is going to make sense," the confused if patient soul watches as the doctor injures the healed, revives Jews who have been gassed, and grows closer to his estranged wife. It concludes, "We all know by now that violence creates, here on earth . . . it heals and mends." Amis's device, which at first seems merely a clever conceit, is handled so skillfully that living backwards becomes not only natural but a perfect metaphor for the Nazis' perverted logic. If he can't finally probe to the bottom of a mind that embraces atrocities, Amis has nevertheless written a thought-provoking, compelling book. Previewed in Prepub Alert, LJ 6/1/91.
-Barbara Hoffert, "Library Journal"
Copyright 1991 Reed Business Information, Inc.

From Kirkus Reviews
Amis this time writes about Tod Friendly, a.k.a John Young, a.k.a Odilo Unverdorben--a doctor with a chilling past no one knows about: he was a medical experimenter under Mengele at Auschwitz. No one knows--that is, except his soul, his conscience, which narrates this book: backwards. Literally backwards--not in flashbacks, but everything like a film run in reverse, with construction become destruction, age become youth, horror become innocence. ``You want to know what I do?'' asks the narrator during his stint as trauma doctor. ``All right. Some guy comes in with a bandage around his head. We don't mess about. We'll soon have that off. He's got a hole in his head. So what do we do. We stick a nail in it. Get the nail--a good rusty one--from the trash or whatever. And lead him out to the Waiting Room where he's allowed to linger and holler for a while before we ferry him back to the night. Already we're busy with this baglady we've got, welding sock and shoe plastic on to the soles of her evil feet.'' Dialogue is equally in reverse order, so that you learn the trick of reading up from the page to get the full effect. The problem here is that Amis's cleverness has a glare-y insistence to it that undercuts the moralism it means to reflect. Like London Fields, the book is mostly at home in contemporary jeremiad: about New York, about modern sex, about the homeless, about the horror that doctors so blithely encounter. The Auschwitz material, coming last, also comes least--weakened by the narration's trickiness into seeming inevitable (though Amis puts a psychosexual spin on its roots, … la the Reichianism of his mentor Saul Bellow) and inhospitable to the stylistic flair that Amis can impart to even the worst contemporary sins. The chipped impressionism simply and unimpressively reads like the worst facts culled from the great annals of Martin Gilbert and Lucy Dawidowicz. Amis's particularity as a writer--the ethical outrage plus the gorgeously soiled, infinitely plastic style--is still remarkable: but his nimbleness on the stage of the global, historical, Big Picture theater serves him less and less well. The Holocaust couldn't care less about his ingenuity, which turns terribilit… into mere tour de force. -- Copyright ©1991, Kirkus Associates, LP. All rights reserved.

Customer Reviews

Impressive. Ought to have won the Booker Prize in '91
From beginning to end, Amis has managed to sustain a wonderful conceit: the inversion of time. The idea isn't original but this execution is complete and nearly perfect. Yes, the story somewhat pays homage to Kurt Vonnegut's Slaughterhouse-Five but it is a weak parallel. Slaughterhouse-Five is a book where time is treated non-linearly and yet the narrative follows more or less the conventional marching forward. A better example really is T.H. White's The Sword in the Stone where a major character lives backwards in time. Merlin comes from the future, converges towards the age of young King Arthur and sweeps past into the past.

In Time's Arrow, the narrator from the very first words "I moved forward, out of the blackest sleep, ..." experiences time inverted. From death to birth, the narrator must learn of the past by experiencing the world - he is naive as to the events of the past - day-by-day inside Tod's body (growing younger). Tod is the Nazi war criminal whose secret life unfolds - backwards. Oddly, the narrator appears naive has he is forced to speculate on the past based only on his knowledge of the present and future. He does not know the past. And he is often wrong, just as we are in predicting the future.

Perhaps the most puzzingly aspect of the novel is the identity of the narrator. The narrator may be the protagonist or may be not ...It is ambiguous. Certainly, the narrator "rides" in the head of Tod Friendly (and his aliases) but he experiences the world mechanically like a closed circuit security camera. The narrator can only see and smell and hear what Tod sees and smells and hears. The narrator can not experience the thoughts or emotions of Tod. Strange but very rewarding. The narrator does see Tod's dreams. All very disorienting.

But the de-familiarization of this backwards world has a peculiar effect on the re-telling of the atrocities of Auschwitz. Simply, narrator cuts through this horrifyingly familiar world of evil and allows the reader to ponder it as new - just as the naive narrator encounters it all for the first time.

In short, this is a great book not because of its virtuosity in creating an inverted world, but by opening up a new possibility in literature. Why not tell stories backwards? Knowing what we know now, can we predict the past? Funnily enough, the world of science - geology, biology - is all too familiar with this novelty. It is only in literature where time must march forward.

Amis reverses "time's arrow" to get to heart of Holocaust
In Time's Arrow, British novelist Martin Amis begins with the death of Dr. Tod Friendly and then traces his life--backwards--into his sinister past. Though the outlandish premise of time running backwards wears thin at times, the story Amis tells is compelling enough to keep the reader interested until the very end...or beginning. ¶Make no mistake, this book is weird. Amis maintains the backwards motif scrupulously, with dialogues printed in reverse order (Amis' one concession to the reader is to render the individual sentences forward) and every event described backwards. For instance: to eat, "You select a soiled dish, collect some scraps from the garbage, and settle down for a short wait. Various items get gulped up into my mouth, and after skillful massage with tongue and teeth I transfer them to the plate for additional sculpture with knife and fork and spoon." ¶The narrator is not Tod himself, exactly, but a sort of secondary consciousness, a spectator who is independent from Tod's thoughts but hostage inside his body. Amis never explains the peculiar identity of his narrator, who views the reverse unfolding of Tod's life as a forward-moving story. ¶Amis uses the backwards perspective to showcase his powers of description. The narrator's ingenious explanations of everyday processes reversed, like eating, are pearls of smart, funny writing. His adept usage of the gleefully oblivious narrator results in delicious irony, as in this exposition on taxis: "This business with the yellow cabs, it sure looks like an unimprovable deal. They're always there when you need one, even in the rain or when the theaters are closing. They pay you up front, no questions asked. They always know where you're going. They're great. No wonder we stand there, for hours on end, waving goodbye, or saluting--saluting this fine service. The streets are full of people with their arms raised, drenched and weary, thanking the yellow cabs." By looking at the world backwards, Amis offers uncommon but resonant observations on the way it functions. Following a story told backwards is a formidable challenge for the reader, though; it makes the head spin at first. Only after much reading do the rhythms of this world of reverse causation start to make sense. ¶It becomes clear early in the book that something is seriously wrong with Tod's life. Ominous signs are everywhere; Tod's many relationships with women, dysfunctional backwards or forwards, suggest he has serious emotional problems. Shortly before (after?) his death, one girlfriend harasses him about "his secret." The readers move onward, conscious that they are getting ever closer to the answers in Tod's past. Amis' structuring of the story to provide suspense through foreshadowing (or after-shadowing?) is masterful. By reversing causality, he turns all principles of literary development on their head. We see the endings first and anticipate the beginnings; we seek the causes of events, not their results. ¶Why tell a story backwards? The text suggests a few answers early on. Recounting a life backwards invites the reader to ask where the life is going. At times, it seems that Amis' message is that the life does not make any progress. The end of Friendly's life is decidedly inauspicious; did he accomplish anything? Through the ultimate futility of all Friendly's personal relations, Amis hints that run either way, life lacks real direction: "I have noticed in the past, of course, that most conversations would make much better sense if you ran them backward. But with this man-woman stuff, you could run them anyway you liked--and still get no further forward." ¶The more positive side of the reversal is that it highlights the good parts of life people are apt to miss going forward. Like the dead in Our Town, who recognize how precious and fleeting life is, the narrator rebukes Friendly for not enjoying his "improvement" in health as he gets younger. For better or worse, the reversal offers a new perspective on life and a new way of evaluating it. ¶The narrator moves with Tod through a series of identity changes, over into Europe, and ultimately to the darkness which haunts all that proceeds it: Tod (really named Odilo) works as a "doctor" at Auschwitz. The narrator describes the obscene murder and brutality which Tod oversees, but in the same cheerfully uncomprehending manner as before. For the narrator, the laws of reverse causation are in effect: the officers at the camp are creating a people, using fire and gas--dead men are taken from the pile outside, Tod extracts poisons from them with a syringe, and they come back to life. Suddenly, the accustomed irony of the narrator's descriptions has become unbearably bitter; for instance: "I saw the old Jew struggle to the surface of the deep latrine, how he splashed and struggled into life, and was hoisted out by the jubilant guards, his clothes cleansed by the mire." Amis achieves the desired effect: by describing the atrocities obliquely, through the upbeat, backwards narrator, the impact on the reader is more painful than it could be with a direct description. ¶Now we understand the primary significance of the book's backwardness. The Holocaust was the ultimate repudiation and reversal of human morality. Its world of gas chambers and crematoriums was obscenely wrong, still inconceivable to most people even today. For the narrator, of course, it was the only world which made sense--a happy world, dedicated to feeding the Jews, joining their families together, giving them property, rights, and even life. Only in a backwards world where taking is giving, where destruction is creation can the Holocaust make sense. ¶Now the puzzle of Tod's later life all fits together; even his assumed name acquires a new significance, if one knows that "Tod" is German for death. "Tod Friendly" represents the two phases of his life: the German years occupied with death, followed by the desperate friendliness he offered as atonement. But Amis makes clear that the "Friendly" years can never erase his sins; he is tied to them by the unbreakable line of time. And though following a story backwards can border on tedious at moments, Amis' sharp writing, intriguing story line, and disturbing study of the Holocaust keep the reader following the trail of the arrow.

book good a, around All.
When I first picked up this book, I was worried that the whole "backwards time thing" would be just another literary gimmick with no depth. Then I started reading it -- and found myself sitting around the house unable to remember whether I was supposed to tie my shoes or put them on first... and a friend of mine said, when she read it, that she "would wake up in the middle of the night having to consciously think about which direction time was going."

To my mind, this psychological/temporal craziness makes a certain kind of unthinkability real (in literary form) -- and thus makes the mindset of Nazi (or any) atrocity real in a way that conventional wisdom, with its constant labelling of all atrocity as committed by some "evil other," could never do.

The fact that one would have to so maul the basic temporality of existence just to get into the head of the committer of atrocity and have it make any sense at all is incredibly powerful.

What's more, the incredible horrific irony of many of the actual medical scenes breaks down (at least in this reader) any possibility of "desensitization to violence." All I had to do was think of dead Jews piled in a room, then filled with the "life-giving Zyklon-B" and shipped back to idyllic homelands, to shock me into feeling the true horror of genocidal politics.