Time's Arrow
Authors: Martin Amis
Time's arrow, or, The nature of the offense
Martin Amis
Vintage International (1991)
Rating: ★★★☆☆
Tags: Fiction, Historical, General, History, Literary, Jewish Fiction, Romance, Fantasy, Holocaust, Fantasy Fiction, Holocaust; Jewish (1939-1945), German Americans
Fictionttt Historicalttt Generalttt Historyttt Literaryttt Jewish Fictionttt Romancettt Fantasyttt Holocaustttt Fantasy Fictionttt Holocaust; Jewish (1939-1945)ttt German Americansttt
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.
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.
Martin Amis
Time’s Arrow
(or the Nature of the Offense)
PART 1
1
What goes around comes around
I moved forward, out of the blackest
sleep, to find myself surrounded by
doctors
...American doctors:
I sensed their vigor, scarcely held in check, like the profusion of their body hair; and the forbidding touch of their forbidding hands—doctor's hands, so strong, so clean, so aromatic. Although my paralysis was pretty well complete, I did find that I could move my eyes. At any rate, my eyes moved. The doctors seemed to be availing themselves of my immobility. They were, I sensed, discussing my case, but also other matters having to do with their copious free time: hobbies, and so on. And the thought came to me, surprising in its fluency and confidence, fully formed, fully settled: How I hate doctors. Any doctors. All doctors. Consider the Jewish joke, with the old lady running distractedly along the seashore:
Help! My son the doctor is drowning.
Amusing, I suppose. Her pride, I suppose, is amusing: it is greater than her love. But why the pride in these
doctor
children (why not shame, why not incredulous dread?): intimates of bacilli and trichinae, of trauma and mortification, with their disgusting vocabulary and their disgusting furniture (the bloodstained rubber bib, hanging on its hook). They are life's gatekeepers. And why would anyone want to be that?
The doctors around my bed were, of course, in leisurewear; they sent off a fuzz of suntanned self-possession, together with the unanimity that comes from safety in numbers. Given my circumstances, I might have found their manner insultingly casual. Yet I was reassured by the very vapidity of these doctors or joggers or bodybuilders, these vigor-experts—something to do with their unsmiling pursuit of the good life. The good life, at least, is better than the bad life. It features windsurfing, for example, and sweet deals in futures, and archery, and hang gliding, and fine dining. In my sleep I had dreamed of a ... No, it wasn't like that. Let me put it this way: presiding over the darkness out of which I had loomed there was a figure, a male shape, with an entirely unmanageable aura, containing such things as beauty, terror, love, filth, and above all power. This male shape or essence seemed to be wearing a white coat (a medic's stark white smock). And black boots. And a certain kind of smile. I think the image might have been a ghost-negative of doctor number one—his black tracksuit and power-pack plimsolls, and the satisfied wince he gave as he pointed at my chest with a shake of his head.
Time now passed untrackably, for it was given over to struggle, with the bed like a trap or a pit, covered in nets, and the sense of starting out on a terrible journey, toward a terrible secret. What did the secret have to do with? Him, with him: the worst man in the worst place at the worst time. I was definitely becoming stronger. My doctors came and went, with heavy hands and heavy breath, to admire my new gurgles and whimpers, my more spectacular twitches, my athletic jolts. Often, a nurse was there, alone, in adorable vigil. Her cream uniform made a packety sound—a sound in which, I felt, I could repose all my yearning and my trust. Because by this stage I was remarkably improved, feeling really tip-top. Never better. Sensation and all its luxuries returned first to my left side (suddenly) and then to my right (with gorgeous stealth). I even won praise from the nurse by lithely arching my back, more or less unassisted, when she did her thing with the pan. . . . Anyway, I lay there, in a mood of quiet celebration, for however long it was, until the evil hour—and the orderlies. The golfing doctors I could handle, the nurse was an unqualified plus. But then came the orderlies, who dealt with me by means of electricity and air. There were three of them. They were unceremonious. They hurried into the room and bundled me into my clothes and stretchered me into the garden. That's right. Then with the jump leads, like two telephones (white—white-hot), they zapped my chest. Finally, before they went away, one of them kissed me. I think I know the name of this kiss. It is called the kiss of life. Then I must have blacked out.
And when I came to it was with an audible pop in the ears, and a rich consciousness of solitude, and a feeling of love and admiration for this big stolid body I was in, which even now was preoccupied and unconcerned, straining out over the rose bed to adjust a loose swathe of clematis on the wooden wall. The big body pottered on, with slow competence: yes, it really knows its stuff. I kept wanting to relax and take a good look at the garden—but something isn't quite working. Something isn't quite working: this body I'm in won't take orders from this will of mine. Look around, I say. But his neck ignores me. His eyes have their own agenda. Is it serious? Are we okay? I didn't panic. I made do with peripheral vision, which, after all, is the next best thing. I saw curled flora swooping and trembling, like pulses or soft explosions in the side of the head. And a circumambient pale green, barred and embossed with pale light, like . . . like American money. I pottered on out there until it began to get dark. I dumped the tools in the hut. Wait a minute. Why am I walking
backward
into the house? Wait. Is it dusk coming, or is it dawn? What is the—what is the sequence of the journey I'm on? What are its rules? Why are the birds singing so strangely? Where am I heading?
A routine, in any event, has certainly established itself. It seems I'm getting the hang of things.
I live, out here, in washing-line and mailbox America, innocuous America, in affable, melting-pot, primary-color, You're-okay-I'm-okay
America.
My name, of course, is Tod Friendly. Tod
T.
Friendly. Oh, I'm there, I'm there in Salad Days, or outside Hank's Hardware World or on the patch of grass by the white town hall, with my chest thrust out and hands on hips and a kind of silent ho-ho-ho. Because that's the kind of guy I am. I'm there—I'm there at the produce store, at the post office, with my "Hi" and my "Bye now" and my "Good. Good." But it doesn't quite go like that. It goes like this:
"Dug. Dug," says the lady in the pharmacy.
"Dug," I join in. "Oo y'rrah?"
"Aid ut oo y'rrah?"
"Mh-mm," she'll say, as she unwraps my hair lotion. I walk away, backward, with a touch of the hat. I speak without volition, in the same way that I do everything else. To tell the truth, it took me quite a while to realize that the pitiable chirruping I heard all about me was, in fact, human speech. Christ, even the larks and the sparrows sound more dignified. I translate this human warble, out of interest. I soon picked it up. I know I'm fluent, now, because I can dream in it. There's another language, a second language, here in Tod's head. We sometimes dream in that language too.
But, yes, here we go, trimly hatted, finely shod, with the
Gazette
tucked under the arm, past the little driveways (THICKLY SETTLED), the lettered mailboxes (Wells, Cohen, Rezika, Meleagrou, Klodzinski, Schering-Kahlbaum, and I don't know what-all), the quiet ambition of every homestead (Please Respect Owner's Rights), the kid-filled buses and the yellow sign saying SLOW—CHILDREN and the black shape of that precipitate youngster with his clutched school bag (of course he's not looking. He's busy running. The face, the eyes, are downward slanted. He has no mind for cars: only for the rightful exercise of his earthly powers). When the little ones squeeze past me in the Superette, I give their mops the chaste old tousle. Tod Friendly. I have no access to his thoughts—but I am awash with his emotions. I am like a crocodile in the thick river of his feeling tone. And you know what? Each glance, each pair of eyes, even as they narrow in ingenuous appraisal, draws a bead on something inside him, and I sense the heat of fear and shame. Is that what I'm heading toward? And Tod's fear, when I stop and analyze it, really
is
frightening. And inexplicable. It has to do with his own mutilation. Who might commit it? How can he avert it?