Review by Booklist Review
Max is one of the most unusual people one could ever meet, even in a novel. He ages backward. Mentally and emotionally, he progresses as do other children. Physically, however, he is born quite old and gets younger every year. Should he live long enough naturally, he will become a baby and die. When he is 5, his mother teaches him the most powerful lesson of his life, one that will enable him to coexist successfully with his fellow humans: Be what they think you are. As a young, but physically elderly, man, Max meets and falls in love with 14-year-old Alice Levy. A relationship is impossible, and they go their separate ways, but Max is smitten for good. Years later, when Alice is in her thirties and Max is near that age, they meet again and, this time, marry. But after many childless years, Alice grows away from him, moves to Pasadena, and launches a successful career as a photographer. They meet again much later. Alice is in her fifties, and Max is a boy. Max's narrative, that of a man living in reverse and, perforce, rather alongside of his time than in it, becomes a deeply poignant and mature commentary on life that strums the heartstrings again and again. It's positively captivating. --Paula Luedtke Copyright 2004 Booklist
From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review
With a premise straight out of science fiction (or F. Scott Fitzgerald), Greer's second novel plumbs the agonies of misdirected love and the pleasures of nostalgia with gratifying richness. Max Tivoli has aged backwards: born in San Francisco in 1871 looking like a 70-year-old man, he's now nearly 60 and looks 11. Other than this "deformity," the defining feature of Max's life is his epic love for Alice Levy, whom he meets when they are both teens (though he looks 53). Max's middle-aged gentility endears him to Alice's mother and, like an innocent Humbert Humbert, he allows Mrs. Levy to seduce him so that he might be near his love. When he steals a kiss from Alice, the Levys flee. But heartbroken Max gets another chance: when he encounters Alice years later, she does not recognize him, and he lies shamelessly and repeatedly to be near her again. Max's parents, whose marriage is itself another story of Old San Francisco, have advised him to "be what they think you are," and he usually is. But his lifelong friend Hughie Dempsey knows Max's secret, and is intimately connected to the story that unfolds, via Max's written "confessions," in small, explosive revelations. "We are each the love of someone's life," Max begins; it is the implications of that statement, rather than the details of a backward existence, that the novel illuminates. Greer (The Path of Minor Planets) writes marvelously nuanced prose; with its turn-of-the-century lilt and poetic flashes, it is the perfect medium for this weird, mesmerizing and heartbreaking tale. (Feb.) Forecast: Greer's novel is a prime candidate for handselling-as effusive praise for it from booksellers suggests-and blurbs from Michael Chabon and Michael Cunningham will catch browsers' attention. (c) Copyright PWxyz, LLC. All rights reserved
(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review
Max Tivoli has an unusual malady: born with the appearance of an elderly man, he appears progressively younger and younger as he ages. Max's dilemma is illustrated by his relationship with Alice Levy, his first and only love. Clearly, romance isn't an easy proposition; when they first meet, he's more of a grandfatherly figure to her, and complications arise when Alice's mother grows attached to this enigmatic man. Only at the midpoint of Max's life does he approach anything resembling normalcy, with a brief marriage to Alice and the fathering of a child (these are the novel's most touching moments), but that happiness obviously cannot last. Near the end of his life, his desire to be near Alice and their son causes him to masquerade as an abandoned child to receive at least some sort of love from the unaware mother. There's a good deal of pathos to be wrung from this story of hopelessly elusive love, but Greer (The Path of Minor Planets) never pushes the natural sentiment of the story over the edge into treacle. He thus transforms an idea that could very easily have been a mere novelty into something surprisingly and genuinely affecting. Highly recommended.-Marc Kloszewski, Indiana Free Lib., PA (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review
A man who ages backward in late-19th-century San Francisco recounts his inverted but ultimately rewarding life: a quirky second novel from the author of The Path of Minor Planets (2001). Born to wealthy San Franciscans in 1871, Max Tivoli is pronounced a "Nisse," or little Danish gnome, a time-altered creature who starts out as an old man and gradually grows younger until he attains babyhood and death--calculated by his grandmother at 1941. Yet Max grows only physically younger, while his mind reflects his actual years, prompting his family and himself perpetually to pass him off in public as someone he isn't--like the performing bear at Woodward's Gardens. Max's Danish father abruptly vanishes from the house (he's believed to have been "shanghaied") when Max is 16, forcing him and his pregnant mother to move from tony Nob Hill to their old house in South Park, where Max (presented as his mother's brother-in-law) falls hopelessly in love with the 14-year-old daughter of widow Levy, a tenant downstairs. Yet because of Max's still-elderly appearance, he despairs of winning young Alice's love, and instead allows the widow to seduce him--though when she discovers his secret, she flees with her daughter: they don't reappear until Alice and Max are both, harmoniously, in their 30s. In a most ingenious (and Freudian) manner, Alice becomes truly the mutable love of Max's life, functioning as his first love, then as his wife, and then--shockingly--as his mother in his final preadolescent years. By that time, in 1930, Max knows he has few more lucid days left and begins penning his life story. Artifices indeed proliferate in Greer's nutty scheme for a novel, but if the reader can persevere beyond the first few convoluted pages--"So many things stand in the way of anyone ever hearing my story"--the delights are many, among them gossamer prose, vivid characterization, and historic snapshots of a fabulous American city. Old-fashioned narrative fun in a literary hall of mirrors. Copyright ©Kirkus Reviews, used with permission.
Copyright (c) Kirkus Reviews, used with permission.