The Book of Lost Hours

The novel’s fantastical elements frame history as a living, unstable force shaped by memory, power, and human choice. Through the existence of the time space and the work of timekeepers, the text explores the idea that history can be altered, preserved, and even erased, though never without consequences. Although fantastical, this premise reflects the adage that “history is written by the victors” (94).

From the beginning, the time space allows governments to manipulate the past by destroying memories deemed inconvenient or dangerous. Lisavet initially resists this practice by preserving memories others seek to burn, particularly those connected to marginalized lives and wartime suffering. Her actions reveal not only that history is a narrative but also that it is one underpinned by political concerns; what survives depends on who is allowed to decide what matters. Conversely, those who remember what others would like to forget engage in an act of political resistance—an idea literalized in the form of the timekeeper rebellion.

Erenest’s growing awareness of altered memories underscores that historical revisionism affects individuals unevenly. Because Lisavet exists outside of time, she remembers what others forget, creating an imbalance of knowledge and agency. This asymmetry underscores that rewriting history often benefits those in power while disorienting or even erasing everyone else. Jack’s use of memory erasure as a bureaucratic tool reinforces this danger, as history becomes something to control rather than understand, especially in the context of war. Jack rewrites history as he sees fit to control the narrative throughout the Cold War.

Beyond exposing the injustice of historical revisionism, the novel explores its practical costs. Lisavet’s later interventions, as she changes events to protect Amelia and erases those who remember her, figuratively demonstrate the escalating consequences of altering history. Each change fractures the time space further, a metaphorical embodiment of history’s instability. If, as Azrael claims, history is “a mirror” through which humans understand themselves, this opens up the possibility of a past and present that endlessly reflect one another, growing further and further removed from any truth—something that is of concern to the powerful and powerless alike. In practical terms, the novel suggests that this is why attempts to smooth over or erase the past merely replicate cycles of violence; the very act is itself a kind of violence. 

The novel provides an ethical response to this problem in its final lines, as both Ernest and Lisavet agree to destroy the time space. After Lisavet and Ernest reunite, she sees the value of the rebels and the danger of her attempts to alter memory and history. Lisavet’s sacrifice serves as both accountability for what she did and acceptance of the dangers of manipulating the historical record. As Amelia looks into the time space for the final time, she sees the memories freed from the shelves and scattered as stars, as history is no longer something to possess or use. Instead, as Lisavet shows, it is something to coexist with.

The novel frames grief as an experience that must be acknowledged in order for individuals, and history itself, to move forward. Because loss is inevitable, characters who try to erase, rewrite, or control their grief remain trapped in cycles of manipulation and harm. Conversely, those who confront grief directly are able to free themselves from its control and find happiness despite what they have lost.

Lisavet’s childhood tragedy, the loss of her family, drives her initial desire to preserve memories. While this impulse begins as an act of compassion and defiance, it gradually becomes a more personal obsession: a refusal to let go even when doing so would be beneficial. She sees the lost memories that she saves as comparable to her father, underscoring the lasting impact of his death and her struggle to reckon with it. Her repeated intervention with the timekeepers and her riskier attempts to save memories lead to Ernest’s injury, her own attack, and, ultimately, her removal from the time space by Jack. Similarly, when she separates herself from Ernest and struggles to raise her child, her unprocessed grief motivates increasingly dangerous choices. The chasm in the time space visually represents this unresolved loss, widening as Lisavet attempts to prevent pain rather than endure it. By preserving everything, Lisavet avoids mourning, but in doing so, she fractures both time and herself.

As Moira, she continues to resist facing grief and loss. She erases Ernest’s memories again, emotionally isolates herself, and repeatedly pledges her loyalty to Jack. While in some ways acts of resistance, these actions ultimately stem from the fear of losing Amelia. Rather than grieving the life she cannot have, Moira suppresses her pain and seeks power and control in an effort to prevent future suffering. However, this denial leaves her unable to connect fully with Ernest or find peace with her life. In the name of protection, she is forced to sacrifice Amelia and Ernest, the very people she has tried so desperately to save. This underscores the futility of her actions: Whatever path she chooses, loss is inevitable.

Amelia represents an alternative response to grief. Though she experiences the loss of both her adoptive mother and her uncle (later revealed to be her biological father), she does not attempt to rewrite or erase her pain. Even after she learns of what her biological mother did with her as a child, she simply grieves rather than using her abilities in the time space to “rectify” what she has been through. Her decision to close the door to the time space reaffirms that while remembering the past is important, healing often requires release.

The novel thus argues that accepting grief is an act of courage and ultimately brings Lisavet to a point where she is able to do so. In the end, as she floats with the memories in the sky, she finally accepts her life for what it is, enjoying all the versions of it—even the ones with grief and loss.