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Time's Arrow: Or the Nature of the Offense, by Martin Amis
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Martin Amis turns to a tricky literary conceit to tell the story of an ex-Nazi, Dr. Tod T. Friendly. Friendly is possessed of two separate voices, one running backward from his death, the other running forward, fleeing his unsavory past.
As an added bonus, when you purchase our Audible Modern Vanguard production of Martin Amis' book, you'll also get an exclusive Jim Atlas interview that begins when the audiobook ends.
- Sales Rank: #22755 in Audible
- Published on: 2010-05-04
- Format: Unabridged
- Original language: English
- Running time: 327 minutes
Most helpful customer reviews
35 of 35 people found the following review helpful.
Impressive. Ought to have won the Booker Prize in '91
By A Customer
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.
34 of 34 people found the following review helpful.
"And I within, who came at the wrong time..."
By Steven Reynolds
At the moment of Dr Tod T. Friendly's death, a consciousness is born and then witnesses the doctor's entire life - lived backwards. The voice trails the doctor through his early retirement, his last years of work and degenerating relationships, then back through his heyday as a surgeon, his life in New York, various name changes, and then back via ship to postwar Europe. At first nothing seems to make sense for the narrating consciousness: people are talking and walking backwards; relationships begin with tearful meetings and slapped faces and end with coy moments in hospital corridors; mysterious, coded letters emerge from the flames of the fireplace; and the doctor and his colleagues work passionately at making healthy people sick, or wounding them and throwing them into ambulances to be taken back onto the streets. But finally, when we follow the good doctor back to his time at Auschwitz, life begins to make sense at last. There, he and his colleagues are doing something wonderful: they are creating the Jewish race. Pulling smoke and ashes from the sky, assembling the debris into human beings, bringing them to life with gas, letting them work their way into health, then uniting them with family members and sending them off by train to flourish in the towns and cities of Europe... What at first seems like a rather trivial exercise in literary game-playing - the conceit of narrating a life lived backwards - becomes, in fact, the device which enables Amis to deliver one of the most effective and affecting condemnations of the Holocaust without writing a single word against it. By showing it in reverse - by inverting its objectives, its sequence and its consequences - Amis renders the Nazi program in all its grotesque obscenity. The camps are plainly revealed as the sickening inversion, the opposite, of everything good in the world: love, decency, creativity, freedom. Many have noted that these places, these crimes, have an existential meaning beyond politics or shock or pity. They have become symbols of our own inturned nihilism. As Peter Handke has explained, the idea of the camps is so compelling for us because in them the whole of life's demonic undertow has found, at last, its specific image. Amis draws it clearly - he shows us how and why Handke's statement is true, and that makes this bold and striking novel essential reading.
0 of 0 people found the following review helpful.
Hilarious and dark
By proteasam
Amis at his best. An incredible feat of writing, what with the reverse timeline, and not gimmicky. Laugh out loud funny and yet poignant about the Holocaust and ultimate human darkness.
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