Tracing Time’s Arrow
From Chapter Four of Understanding
Martin Amis, by James Diedrick
© 2002 by James Diedrick
Schindler's List
(1993), Steven
Spielberg's film about the Holocaust, contains a much-discussed sequence that
might have been taken from the pages of Time's
Arrow (1991). Three hundred women on a train bound for
Oskar Schindler's new factory in Czechoslovakia
end up instead at the Nazi death camp at Auschwitz-Birkenau.
They are stripped, shaved, and herded into the showers, and the viewer follows
them, horribly aware of what happened to hundreds of thousands like them. The
women look up at the shower heads, the lights go out, and a collective scream
erupts. Then, in defiance of viewer expectation, the sound of water is heard:
this is not the moment of death but a decontamination process. Momentarily
relieved, the viewer braces for the next horror, but it does not come.
Schindler learns that his train was misrouted, rushes to the camp, bribes the
commandant, and takes the women to his factory--back to jobs they held before
they were first sent to the camps. It is almost as if the film were suddenly
running backwards: the women enter the gas chamber, the lights go out--then
life-giving water showers down on them, and they return to the trains, to
their jobs, to their husbands and loved ones. The viewer knows this exception
is just that, knows from the film itself that systematic terror and
extermination were the norm. But in the midst of this knowledge, Spielberg
creates a brief sequence that is the filmic equivalent of poetic justice,
imagining what it might look like if history were reversed, if the genocidal
horror were undone.
Time's Arrow
is also about the Holocaust. In the midst of imagining both the bureaucracy
and psychology of genocidal evil, it too offers poetic justice--on a grand
historical scale. It does so by means of an audacious variation on the folk
wisdom that just before death individuals see their entire lives flash before
them. At the moment of his death in an American hospital, one-time Nazi doctor
Odilo Unverdorben
"gives birth" to a doppleganger (literally,
"double-goer"), a child-like innocent who re-lives
Unverdorben's life--in reverse. He inhabits
Unverdorben, who is unaware of his presence, like
a "passenger or parasite" (8). Though he lacks access to his host's thoughts,
he is "awash with his emotions" (7). He also possesses a rudimentary
conscience--most notably an aversion to human suffering. Fortunately for the
narrative, this narrator is "equipped with a fair amount of value-free
information, or general knowledge," and a "superb vocabulary" (8,9).
But he is unaware that his backward trajectory through time violates ordinary
chronology. He is also utterly ignorant of history.
During his time in America,
where Unverdorben works as a surgeon, the narrator
witnesses Unverdorben inflict terrible wounds on
his patients and send them home in agony. He concludes that doctors "demolish
the human body" (74). When he finally arrives at Auschwitz-Birkenau,
however, "the world...has a new habit. It makes sense"
(129). Here he and Odilo create life, heal
wounds, send inmates to freedom. "Our preternatural
purpose? To dream a race.
To make a people from the weather.
From thunder and from lightning.
With gas, with electricity, with shit, with fire" (120).
In his descriptions of breathing life back into the victims of Nazi genocide
the narrator effects a poetic undoing of the Holocaust, all the more poignant
for the reader's knowledge that it never can be undone. "You present it
as a miracle, but the reader is supplying all the tragedy," Amis has said of
the narrative perspective he employs in Time's Arrow. "It was that kind
of double-edged effect that I wanted."[1]
As in Jonathan Swift's "A Modest Proposal," the narrator never registers
horror at the systematic human cruelty occurring around him--which
increases the reader's horror. The result is a short novel with what M.
John Harrison has called "a long ironic reach."[2]
Time's Arrow
is a remarkable imaginative achievement, and it places special demands on the
reader. Disorientation is one's initial response to a world in which time
moves in reverse and effect always precedes cause. A simple process like
gardening becomes a bizarre ritual of uglification
when it takes place in reverse: "all the tulips and roses he patiently drained
and crushed, then sealed their exhumed corpses and took them in the paper bag
to the store for money. All the weeds and nettles he
screwed into the soil--and the earth took this ugliness, snatched at it with a
sudden grip" (18-19). Everything in Time's Arrow is narrated
backwards: old people become younger and more vigorous, children grow smaller
and eventually enter hospitals from which they never return. Eating, drinking,
love-making, even an abortion are all described in reverse. Early on, Amis
even reverses words and sentences, so that "how are you today?" becomes "Aid
ut oo
y'rrah?" (7)--though after this initial
demonstration the narrator helpfully translates.
Faced with this confusion,
the reader develops coping mechanisms. Conversations in Time's Arrow
always run in reverse sequence, for instance, and the reader soon learns to
read them from finish to start. Before long, this inverted world becomes
comprehensible, because it follows predictable rules. In adapting to its crazy
logic, the reader is also preparing to confront another inverted world:
Auschwitz and its obscene logic. Although other fiction can be cited in which
time is reversed--the Dresden fire-bombing sequence in Kurt Vonnegut's
Slaughterhouse Five is perhaps the best-known example[3]--the
narrative conceit of Time's Arrow is placed wholly in the service of a
grim moral reckoning. Even passages which may smack of verbal showmanship when
quoted in isolation are part of this larger purpose, like the narrator's
bewildered response to the world he inhabits: "it's all strange to me. I know
I live on a fierce and magical planet, which sheds or surrenders rain or even
flings it off in whipstroke after
whipstroke, which fires out bolts of electric gold
into the firmament at 186,000 miles per second, which with a single shrug of
its tectonic plates can erect a city in half an hour" (15). In the actual
world, of course, it is destruction that is easy, creation that is
difficult--a fact which this ironic reversal forces us to confront. In so
doing, it prepares the reader to confront Auschwitz.[4]
Writing about
Speilberg's use of "close research" in making
Schindler's List, Amis revealed his own concern with historical
authenticity in Time's Arrow: "nearing the Holocaust, a trespasser
finds that his imagination is decently absenting itself, and reaches for
documentation and technique. The last thing he wants to do, once there, is
make anything up."[5]
In his brief "Afterword" to Time's Arrow,
Amis acknowledges several documentary sources, including the writings of Primo
Levi (himself a survivor of the death camps). But he singles out one book in
particular: The Nazi Doctors, by his friend Robert Jay
Lifton. Lifton, a
psychologist, interviewed survivors of the Nazi death camps as well as
surviving Nazi doctors. The Nazi Doctors is simultaneously a history of
"medicalized killing"[6]
during the Nazi regime, which began with eugenics and ended in the Final
Solution; a series of portraits of individual Nazi doctors, including the
notorious Joseph Mengele; and a theory of
psychological "doubling" that attempts to explain how men sworn to uphold the
Hippocratic oath could dedicate themselves to mass murder. In his "Afterword"
Amis says of The Nazi Doctors "my novel would not and could not have
been written without it" (167), and it is easy to see why.[7]
When the novel's trajectory
is reversed and Odilo
Unverdorben's life and career is summarized using ordinary chronology,
for instance, it becomes apparent that he is typical of the Nazi doctors
Lifton studied. Unverdorben
is born in 1916 in Solingen, the birthplace of
Adolf Eichmann. When
he comes of age he enters medical school, marries, and joins the Reserve
Medical Corps. He is posted to Schloss
Hartheim, the notorious medical facility where
"impaired" children and adults were put to death ("above its archways and
gables the evening sky is full of our unmentionable mistakes," the narrators
says, "hydrocephalic clouds and the wrongly curved palate of the west, and the
cinders of our fires" (146)). It was here that Hitler experimented with
various means of medical killing, rehearsing the systematic eugenics he would
soon pursue against entire populations. "National Socialism is nothing more
than applied biology" (151), the narrator notes--a claim originally made by
National Socialist Deputy Party Leader Rudolf Hess in 1934 (Lifton
31).
After
Schloss Hartheim,
Unverdorben works with the SS forcing the Jews into ghettos. His wife
Herta becomes pregnant. Soon
after he is transferred to Auschwitz. He kills inmates with injections
of phenol and assists Mengele (fictionalized here
as "Uncle Pepi") with his gruesome experiments (The
Nazi Doctors contains a long chapter on Mengele,
whom the Gypsy children in the camps called "Uncle
Mengele"). Herta gives birth but the baby
dies soon after. She writes her husband letters questioning his actions; they
grow more and more estranged. He defends his work by noting "I am famed for my
quiet dedication" (133). Soon he is assisting the mass exterminations by
inserting pellets of Zyklon B into the gas
chambers. Lifton writes that "no individual self
is inherently evil, murderous, genocidal. Yet under
certain conditions virtually any self is capable of becoming all of these"
(497). The narrator echoes this when he concludes that "Odilo
Unverdorben, as a moral being, is absolutely
unexceptional, liable to do what everybody else does, good or bad, with no
limit, once under the cover of numbers" (157).
At war's end
Unverdorben flees to escape prosecution: first to
the Vatican, then to Portugal (where he takes on the first of his
aliases--"Hamilton de Souza"), and finally to America. Once in America,
Unverdorben takes the name "John Young" and goes
to work as a surgeon, first in a New York hospital, then for American Medical
Services on a commercial strip somewhere in New England. He follows the path
of many of the doctors Lifton interviewed,
reconnecting with the Hippocratic sphere and attempting to reclaim his
pre-Nazi self (Lifton 456-7). But of course he can
never be whole again; as the narrator observes, he "can't feel, won't connect,
never opens up, always holds something back" (52). In the late 1950s,
Unverdorben is in danger of being discovered once
again, and he changes his name one last time. He becomes "Tod
T. Friendly" ("Tod" means "death" in German) and
loses himself in "affable, melting-pot, primary-color,
You're-okay-I'm-okay America" (6). As presented in Time's
Arrow, America is a good hiding place for a war criminal--a Lotus-like
land of attenuated memory, where no one inquires about
Unverdorben's past and few care about history. Here
Unverdorben ages and dies in obscurity--but not in
peace. "His dreams are full of figures who scatter in the wind like leaves,"
the narrator observes, "full of souls who form constellations like the stars I
hate to see" (29).
When viewed in relation to
Lifton's theory of psychological "doubling," the
narrator of Time's Arrow can be seen as that part of
Unverdorben that Unverdorben
disavowed at the moment he began performing euthanasia at
Schloss Hartheim.
Unverdorben's name is significant in this regard: the definitions of "verdorben"
in German include "tainted," "rotten," "depraved," and "corrupt," while "unverdorben"
signifies the opposite of these, and also "innocent" and "unsophisticated."
His surname contains both himself and his double, in other words.[8]
In Lifton's theory, "doubling" involves the
creation of a "second self" that exists alongside the original self. In
extreme situations, he argues, this second self "can become the usurper from
within and replace the original self until it `speaks' for the entire person"
(420). The Nazi doctor, Lifton continues, struck a
Faustian bargain with Auschwitz and the regime: "to do the killing, he offered
an opposing self (the evolving Auschwitz self)--a self that, in violating his
own prior moral standards, met with no effective resistance and in fact made
use of his original skills (in this case, medical-scientific)" (420-1).
This description applies
precisely to Unverdorben, who struck his
bargain before Auschwitz, at Schloss
Hartheim. Significantly, when the narrator returns
to the period in Unverdorben's history before his
host embraced the ideology of "medical killing," he emerges from his dungeon
of suppression to hover in the higher regions, like a soul or conscience. "I
who have no name and no body--I have slipped out from under him and am now
scattered above like flakes of ash-blonde human hair" (147). A terrible irony
is embedded in this image, which associates the ghostly narrator with the Jews
whose ashes will soon float through the skies of Auschwitz.
Like the relationship
between Unverdorben and his double, the
relationship between the two "halves" of Time's Arrow--the Auschwitz
and pre-Auschwitz sections--is an uncanny one. Freud explained the uncanny as
a return of the repressed, a moment when something in the individual's psychic
past emerges unbidden and the familiar suddenly turns strange.[9]
The narrator's reverse-time observations of post-war
American hospitals, doctors and doctoring in the first half of Time's Arrow
function in this way, eerily anticipating his eventual immersion in Auschwitz
and intimating the terrible secret of his host's past. For the
narrator, they constitute moments of precognition (which replaces memory in
his time-reversed world), anticipating the appalling future his narrative will
reveal.
From the narrator's
reverse-time perspective, Unverdorben's medical
work in America involves an endless fight "against health, against life and
love" (93). Borrowing a phrase Lifton uses to
describe the Auschwitz environment (426), the narrator calls the hospital "an
atrocity-producing situation" (92). It is easy to see why: "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 wherever. 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" (76). Well before Auschwitz, then, the narrator
has looked directly into the face of human suffering. "Its
face is fierce and distant and ancient" (93).
As for the doctors
themselves, "it is abruptly open to question, this idea the doctors hold in
secret, that they must wield the special power; because if the power remains
unused, then it will become unmoored, and turn back against their own lives"
(80-81). Although he is describing surgeons in a New York hospital here, there
is something eerie about this passage, which becomes fully apparent when we
come to the end of the novel: it could stand as a description of the Auschwitz
doctors themselves. Similarly, the narrator's description of hospital patients
surrendering autonomy and control intimates the radical victimization the
Auschwitz inmates suffered at the hands of Unverdorben:
"all the intelligent pain of the victims, all the dreams of the
unlistened to, all the entreating eyes: all this
is swept up in the fierce rhythm of the hospital" (88). By the time the reader
reaches Auschwitz with the narrator and enters the medical experimentation
rooms with "Uncle Pepi" (Dr.
Mengele), his earlier perceptions echo through the years with new and
shattering relevance: "Meanwhile, on their beds and trolleys, the victims look
on with anxious faces" (90).
There is more to Amis's
method here than rendering the ways in which
Unverdorben's past continues to haunt his present. M. John Harrison has
written that the narrator's description of the doctors' exercise of power
"approaches one of the deep political underpinnings of every society: the
assumption of authority over other people's bodies, other people's most
internal processes."[10]
This assumed monstrous
proportions under the Nazi regime, but it persists in "free" societies as
well. Nor is it confined to those invested with institutional authority--as
the continuing scourge of sexual violence attests. Early in the novel, the
narrator describes the fate of women in crisis centers. It is a haunting
reversal, all the more so because only the reader recognizes the source of the
women's pain--the assumption of authority over their bodies by individual men:
"the women at the crisis centres and the refuges
are all hiding from their redeemers. . . . The welts, the abrasions and the
black eyes get starker, more livid, until it is time for the women to return,
in an ecstasy of distress, to the men who will suddenly heal them. Some
requires more specialised treatment. They stagger
off and go and lie in a park or a basement or wherever, until men come along
and rape them, and then they're okay again" (31).
Yet in the midst of these
assaults on the body, which begin with individual acts of violence and proceed
through Unverdorben's regress to the extermination
camps, Amis's benighted narrator maintains his child-like, life-affirming
innocence. "Skin is soft. Touch it. It gives. It gives to
the touch" (36). He also possesses an unconditional love for others
that is the only antidote for the horrors the novel unsparingly records. Near
the end of the novel, when to his mind the Jews who died in the camps have
been restored to life, the narrator says "I love them as a parent should,
which is to say that I don't love them for their qualities (remarkable as
these seem to me to be, naturally), and only wish them to exist, and to
flourish, and to have their right to life and love" (152). As Frank Kermode
has written, the "image of inhumanity" contained in Time's Arrow
"mirrors a notion of humanity, a tenderness for
fragile flesh, not extinct though always rare and difficult of access."[11]
In the trilogy that begins
with Einstein's Monsters, Amis explores the geo-political developments
that have recently threatened this image of humanity as never before. But
amidst his savage indignation at these developments, a voice of tender
innocence can be heard, all the more poignant for the despair that finally
overcomes it: "I within, who came at the wrong time--either too soon, or after
it was all too late" (165).

NOTES
[1].
Quoted by Anthony DeCurtis
in "Britain's Mavericks," Harper's Bazaar, November 1991, 146.
[2]. M. John
Harrison, "Speeding to Cradle From Grave," Times Literary Supplement,
20 September 1991, 21. For more on the symbolic “reach” of Time’s Arrow,
see Richard Menke, “Narrative Reversals and the
Thermodynamics of History in Martin Amis's Time's Arrow,” Modern
Fiction Studies, Winter 1998, 959-980.
[3].
Other antecedents include Sylvie and Bruno by Lewis
Carrol; Alice's Adventures in Wonderland,
where the White Queen claims that she lives backwards in time; Le
Testament d’Orphee by Jean Cocteau; An
Age by Brian Aldiss; Counter-Clock World
by Philip K. Dick; “The Curious Case of Benjamin Button,” by F. Scott
Fitzgerald, in which a man is born at the age of 70 and proceeds backward to
a state of infancy; and "Mr. F is Mr. F" Slby
J.G. Ballard. In his Afterword to Time's
Arrow, Amis refers obliquely to the Dresden fire-bombing description in
Slaughterhouse Five while discussing influences on his own novel
(168). Maya Slater notes that Time’s Arrow takes up the challenge
posed by Nabokov in Look at the Harlequins!:
“Nobody can imagine in physical terms the act of
reersing the order of time. Time is not reversible” (“Problems When
Time Moves Backwards,” English: The Journal of
the English Association, Summer 1993, 141).
[4].
Some critics have attacked Amis for what they call his narrative "trickery"
in Time's Arrow, suggesting that his technical brilliance is an
affront to the memory of the murdered six million. See especially Rhoda
Koenig, "Holocaust Chic," New York, 21 October 1991, 117, and James
Buchan, “The Return of Dr. Death,” Spectator, 28 September 1991, 38.
Amis was so incensed by Buchan’s assertion that he used the Holocaust for
literary profit—and by the Spectator’s cover headline “Designer Gas
Ovens” — that he wrote a rare reply (“Creepier than Thou,” Spectator,
5 October 1991, 25). He continued the quarrel with Buchan in Experience
(94-5), where he calls Buchan “a humourless
worthy” (toned down from something harsher at the suggestion of the
publisher’s lawyers).
[5].
Martin Amis, "Blown Away," New Yorker, 30 May 1994: 48; rpt. as “I am
in Blood Stepp’d in So Far,” The War
Against Cliché, 11-17.
[6].
Robert Jay Lifton, The
Nazi Doctors: Medical Killing and the Psychology of Genocide (New York:
Basic Books, 1986) 15. Subsequent references will cite page numbers to this
edition.
[7].
As the following discussion suggests, virtually every aspect of Time's
Arrow--historical setting, plot, characterization, even language--is
informed by The Nazi Doctors. The reader who consults
Lifton's book will find more parallels than I
have space to discuss here. See also Susan Vice, “Form Matters: Martin Amis,
Time’s Arrow, in Holocaust Fiction (London: Routledge, 2000),
11-37.
[8].
His first name has a more precise historical provenance: one of the high SS
officials in the eastern killing bureaucracy was named
Odilo Globlocnik.
[9].
Sigmund Freud, "The Uncanny," trans. Alex Strachey,
in The Standard Edition of the Works of
Sigmund Freud (London: The Hogarth Press,
1953), 7, 219-256.
[10].
Harrison, "Speeding to Cradle From Grave,” 21.
[11].
Frank Kermode, "In Reverse," London Review of Books,
12 September 1991, 11. 
[For other
discussions of Time's Arrow, see:
 |
"Narrative Reversals and the Thermodynamics of History
in Martin Amis's Time's Arrow." A précis by Richard Menke of
his essay from the Winter 1998 issue of Modern
Fiction Studies, pp. 959-977. (If you have access to a library with
a subscription to Project Muse,
you can read the full e-text of the essay by clicking the title above. If
not, most good academic libraries subscribe to the journal). |
 |
Review
of Time's Arrow by Jan Marta by Jan Marta (February 1996). ]
|

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