Michael Ondaatje - Anil's Ghost

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Anil's Ghost: краткое содержание, описание и аннотация

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Halfway into Michael Ondaatje's new novel, Anil's Ghost, there is a scene so quietly devastating that it alone makes the novel worth reading. It is the mid-1980s, and a civil war is raging on the tiny island nation of Sri Lanka. Each day, fresh corpses inundate emergency medical clinics-many of them so mutilated that they are unidentifiable and can only be classified as "disappearances." Anil Tissera, a 33-year-old forensic anthropologist born in Sri Lanka and educated abroad, returns to the island as part of a United Nations human rights campaign to prove that mass murders are taking place. In the hope of identifying the corpses, she takes the unusual step of hiring a local "face painter" named Ananda, who, with mud, soot, paint, and sheer instinct, reconstructs the ghostly visage of one suspiciously disinterred body. Anil then shows the image around the local villages, hoping that it will be recognized. This grisly mask becomes Anil's Ghost, and she raises it high to reveal to the world, and the government of Sri Lanka, that she knows what has been going on.
In addition to being his best story yet, Ondaatje's tale is a similarly brave and grisly act of reanimation: It conjures a dark period in Sri Lankan history and reveals how the atrocities directly affect the three main characters. The novel begins with Anil's arrival on the island and builds outward from there. Forty-nine-year-old archaeologist Sarath Diaysena is assigned by the Sri Lankan government to be Anil's official guide, but in spite of his expertise, he never really warms to the role. Sarath wants nothing to do with stirring up trouble. Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him. His brother Gamini, a doctor who works in the field clinics, cannot afford the luxury of denial; the grim casualties of war are wheeled into his clinic by the hour. Unlike Sarath, he knows that one day soon he will recognize one of the victims.
When Sarath and Anil leave the city for the remote villages where Ministry of Health officials rarely, if ever, go, it becomes all but impossible for Sarath to remain uninvolved. Severed heads are staked out along the roads as a warning to anyone thinking of joining the resistance. Even the reticent Sarath admits that small guerrilla groups can hardly be the cause of such widespread brutality. Gamini, meanwhile, is so overwhelmed with triage and autopsies that he turns to his own supply of pharmaceuticals in order to stay awake. Despite the obvious signs of mass murder, Sarath begs Anil not to continue her investigation. He knows how the government will respond to an outsider who tries to exhume its dirty secrets. But Anil knows that it is this very fear that must be overcome if the murders are to be stopped. When she and Sarath find a person who can help them confirm the age of a body interred in a government-controlled cave, there is no turning back.
The remainder of the novel chronicles Anil and Sarath's quest to learn the origins of this body and its identity. Even in the last 20 pages, the novel's crucial questions remain artfully suspended: How much safety is Sarath willing to sacrifice in order to bring these atrocities to light? Will the body be recognized? Will Sarath ever open up to Anil? Will either of them back down when their snooping comes to light? Anil's Ghost is the closest Ondaatje is likely to come to writing a page-turner; many readers will likely devour it in one sitting.
But what makes this more than just a thrilling tale, and invites rereadings, is the way Ondaatje textures his characters' interior lives. And this is where we get vintage Ondaatje. Using flashbacks and brilliant set pieces, Ondaatje spreads out their histories before us like a cartographer, and through this careful mapping we feel his characters' pain and disillusionment. There is Anil's growing guilt over having left Sri Lanka before the disappearances began, and her attempt to expiate that guilt by working to bring these events to light. There is Gamini's struggle to keep hope alive after so many bodies have died in his arms. And finally, there is Sarath's judicious approach to each new atrocity, an attitude that mirrors his technique of keeping a close lid on his heart.
In Ondaatje's literary universe, it is through loving that we define ourselves, and his characters reveal their essential natures by how they do and do not love. Anil has recently run out on her boyfriend after stabbing him in the arm with a small knife. The face painter Ananda's own wife is numbered among the disappearances. When reconstructing the faces of the missing, he gives each of them a serene portrayal, in the hope that his wife, too, will find peace. Sarath's wife, who killed herself at the height of the disappearances, is a more indirect casualty. At the nexus of these three characters is Gamini. Like Anil, he is living on the edge-giving his life to the cause of helping others-but unlike Sarath, he is willing to risk his heart by trying to find true love.
In Ondaatje's previous books, his characters transcended their war-ravaged condition through sexual connection. Here, however, sex is the ground upon which the political battles raging around the characters turn personal, where people learn their fates. Ultimately, what brings home the crushing truth of the atrocities is the extent to which each character gives up on romantic love. Yet in the midst of such emotional decimation, Anil never abandons her struggle to bring the murders to light. Matters of the heart are defined by what we sacrifice. And by risking everything for truth, Anil delivers her most profound expression of love to her reclaimed country.
– John Freeman

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Anil bolted the door and went looking for the owner of the rest house. She requested a light dinner, then ordered a shandy and walked out onto the front verandah. There were no other guests, and the rest-house owner followed her.

‘Mr. Sarath-he always comes here?’ she asked.

‘Sometimes, madame, when he comes to Bandarawela. You live in Colombo?’

‘In North America, mostly. I used to live here.’

‘I have a son in Europe -he wishes to be an actor.’

‘I see. That’s good.’

She stepped off the polished floor of the porch into the garden. It was the politest departure from her host she could make. She didn’t feel like hesitant small-talk this evening. But once she reached the red darkness of the flamboyant tree she turned.

‘Did Mr. Sarath ever come here with his wife?’

‘Yes, madame.’

‘What was she like?’

‘She’s very nice, madame.’

A nod for proof, then a slight tilt of his head, a J stroke, to suggest possible hesitance in his own judgement.

‘Is?’

‘Yes. Madame?’

‘Even though she is dead.’

‘No, madame. I asked Mr. Sarath this afternoon and he said she is well. Not dead. He said she said to give me her wishes.’

‘I must have been mistaken.’

‘Yes, madame.’

‘She comes with him on his trips?’

‘Sometimes she comes. She does radio programmes. Sometimes his cousin comes. He’s a minister in the government.’

‘Do you know his name?’

‘No, madame. I think he came only once. Is prawn curry all right?’

‘Yes. Thank you.’

To avoid further conversation, during her meal she pretended to be looking over her notes. She thought about Sarath’s marriage. It was difficult to imagine him as a married man. She was already used to him in the role of a widower, with a silent presence around him. Well, she thought, night falls and you need company. A person will walk through a hundred doors to carry out the whims of the dead, not realizing he is burying himself away from the others.

After dinner she returned to the room where the skeletons were. She didn’t want to sleep yet. She didn’t want to think about the minister who had come with Sarath to Bandarawela. The dim lights didn’t give her enough voltage to read by so she found an oil lamp and lit it. Earlier, she had come across the rest house’s one-shelf library. Agatha Christie. P. G. Wodehouse. Enid Blyton. John Masters. The usual suspects in any Asian library. She had read most of them as a child or as a teenager. Instead she leafed through her own copy of Bridges’s World Soils. Anil knew Bridges like the back of her hand, but she was processing the text now towards her present situation, and as she read she sensed she was leaving the others, the four skeletons, in the darkness.

She was in the chair, her head down towards her thighs, fast asleep, when Sarath woke her.

He touched her shoulder, then pulled the earphones off her hair and put them on his head, pressing the start button to hear cello suites that sewed everything together as he walked around the room.

A swallow, as if she were coming up for air.

‘You didn’t lock the door.’

‘No. Is everything okay?’

‘Everything’s here. I arranged for a breakfast. It’s already late.’

‘I’m up.’

‘There’s a shower out back.’

‘I don’t feel good. I’m coming down with something.’

‘If we have to we can break the journey back to Colombo.’

She went out carrying her Dr. Bronner’s, with which she travelled all over the world. The anthropologist’s soap! She was still half asleep in the shower. Her toes nestled against a piece of rough granite, cold water gushing down onto her hair.

She washed her face, rubbing the peppermint soap on her closed eyelids, then rinsing it off. When she looked over the plantain leaves at shoulder level into the distance she could see the blue mountains beyond, the out-of-focus world, beautiful.

But by noon she was encased in a terrible headache.

***

She was feverish in the back seat of the van, and Sarath decided to stop halfway back to Colombo. Whatever sickness she had was like an animal in her, leading her from sudden shivers to sweat.

Then, sometime past midnight, she was in a room that was on the edge of the sea. She had never liked the south coast around Yala, not as a child, not now. The trees appeared to have been grown only for the purpose of shade. Even the moon seemed like a compound light.

At dinner she had been delirious, almost in tears. Sarath appeared to be a hundred miles away across the table. One of them was shouting unnecessarily. She was hungry but couldn’t chew, not even her favourite prawn curry. She just kept spooning the soft lukewarm dhal into her mouth, then drinking lime juice. In the afternoon she had woken to a thumping noise. She managed to climb out of bed and looked down the open-air passageway and saw monkeys disappearing around the far corner of the hall. She believed what she saw. She took capsules every four hours to keep away headaches. This was sunstroke or dengue fever or malaria. When they got back to Colombo she would have tests done. ‘It’s the sun,’ Sarath murmured. ‘I’ll buy you a bigger hat. I’ll buy you a bigger hat. I’ll buy you a bigger hat.’ He was always whispering. She kept saying, What? What? Could hardly bother to say it. Were there monkeys? Monkeys were stealing towels and swimming trunks off the laundry lines during the afternoons while everyone slept. She prayed the hotel wouldn’t turn off the generator. She couldn’t face the thought of no fan or shower to cool her down. All that worked was the telephone. She was expecting a call in the night.

When dinner was over she took the carafe of lime juice and ice to her room and fell asleep immediately. She woke at eleven and took more pills to blanket the headache she knew would return soon. Clothes wet from perspiration. To perspire. To aspire. Discuss. The fan was hardly moving, air didn’t even reach her arms. Where was Sailor? She hadn’t thought about him. She rolled over in the dark and dialed Sarath’s room number. ‘Where is he?’

‘Who?’

‘Sailor.’

‘He’s safe. In the van. Remember?’

‘No, I-Is that safe?’

‘It was your idea.’

She hung up, making certain the phone was cradled properly, and lay there in the dark. Wanting air. When she opened the curtains she saw light spraying off the compound pole. There were people on the dark sand preparing boats. If she turned on the lamp she would look like a fish in an aquarium to them.

She left her room. She needed a book to keep her awake till the phone call came. In the alcove she stared at the shelves for a while, grabbed two books and scurried back to her room. In Search of Gandhi, by Richard Attenborough, and a life of Frank Sinatra. She drew the curtains, turned on the light and peeled off her damp clothes. In the shower she put her hair under the cold water and leaned against a corner of the stall, just letting the coolness lull her. She needed someone, Leaf perhaps, to sing along with her. One of those dialogue songs they were always singing together in Arizona…

She dragged herself out and sat at the foot of the bed, wet. She was hot but couldn’t open the curtains. It would have meant putting on clothes. She began reading. When she got bored she switched to the other book, and was soon carrying a larger and larger cast of characters in her head. The light was bad. She remembered Sarath had told her the one essential thing he always took on any trip out of Colombo was a sixty-watt bulb. She crawled across the bed and called him. ‘Can I use your lightbulb? It’s a rotten light here.’

‘I’ll bring it.’

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