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 Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him.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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They taped down sheets from the Sunday Observer so the pages covered the floor. You have the felt pen? Yes. She began removing her clothes, her back to him, then lay down next to the skeleton of Sailor. She was wearing just her red knickers, silk ones she usually put on with irony. She hadn’t imagined them for public consumption. She looked up at the ceiling, her hands on her breasts. Her body felt good against the hard floor, the coolness of the polished concrete through the newspaper, the same firmness she had felt as a child sleeping on mats.

He was using the felt marker to trace her shape. You will have to put your arms down for a moment. She could feel the pen move around her hands and alongside her waist, then down her legs, both sides, so he linked the blue lines at the base of her heels.

She rose out of the outline, turned back and saw he had drawn outlines of the four skeletons as well.

There was a knocking and she roused herself. She hadn’t moved. All evening she kept discovering herself stilled, unable to think. Even reading she’d gotten entangled sleepily in the arms of paragraphs that wouldn’t let her go. Something about the phrasing of Ava Gardner’s complaint about Sinatra held her. Wrapped in a sheet she opened the door. Sarath passed her the bulb and disappeared from sight. He had been in a shirt and sarong. She was going to ask him to… She pulled the table to the centre of the room, switched the light off. She used the sheet to unscrew the hot bulb. She feared wild electricity somewhere in the wire. She could hear the noise of the waves outside. With effort she lifted her head and screwed the bulb Sarath had brought into the socket. Everything was suddenly heavy and slowed down.

She lay flat on the bed, cold once more, shivering, a moan in her mouth. She rummaged through her bag and found two small bottles of scotch she had taken from the plane. Sarath had taken off her clothes and traced her outline. Had he done that?

The telephone rang. It was America. A woman’s voice.

‘Hello? Hello? Leaf? God it’s you! You got my message.’

‘You’ve picked up an accent already.’

‘No, I- Is this a legal call?’

‘Your voice is all up and down.’

‘Yes?’

‘Are you okay, Anil?’

‘I’m sick. It’s very late. No, no. It’s fine. I’ve been waiting for you. It’s just I’m sick and it makes me feel even further away from everybody. Leaf? Are you well?’

‘Yes.’

‘Tell me. How well?’

There was silence. ‘I’m not remembering. I’m forgetting your face.’

Anil could hardly breathe. She turned from the phone to wipe her cheek on the pillow. ‘Are you there? Leaf?’ She heard the noise of great distances on the line between them. ‘Is your sister with you?’

‘My sister?’ Leaf said.

‘Leaf, listen, remember-who killed Cherry Valance?’

Crackle and silence as she held the phone tight to her ear.

In the next room Sarath had his eyes open, unable to escape the sound of Anil’s weeping.

***

Sarath reached his hand across the breakfast plates and held Anil’s wrist. His thumb on her pulse. ‘We’ll get to Colombo this afternoon. We can work on the skeleton in the ship lab.’

‘And keep the skeleton with us, whatever happens,’ she said.

‘We keep all four. A unit. A disguise. We claim they’re all ancient. Your fever is down.’

She pulled her hand away. ‘I’ll remove a chip from Sailor’s heel-to have a private ID.’

‘If we take more pollen and earth samples, we can find out where he was buried first. Then do the study on the boat.’

‘There’s a woman who has been working on pupae around here,’ Anil said. ‘I read an article. I’m sure she was from Colombo. It was a very good junior thesis.’

He looked at her quizzically. ‘Don’t know. Try the young faculty when you’re at the hospital.’

They sat facing each other in silence.

‘I said to my girlfriend Leaf before I came here, Perhaps I’ll meet the man who is going to ruin me. Can I trust you?’

‘You have to trust me.’

They were at the Mutwal docks in Colombo by early evening. She helped him carry the four skeletons into the lab on board the Oronsay.

‘Take tomorrow off,’ he said. ‘I have to find more equipment, so I’ll need a day.’

Anil remained on the ship after he left, wanting to work for a while. She walked down the stairs and entered the lab, picked up the metal pole they kept by the door and began banging on the walls. Scurrying. Eventually the darkness was silent. She struck a match and walked with it held out in front of her. She pulled down the lever of the generator and soon there was a shaky hum and electricity emerged slowly into the room.

She sat there watching him. The fever was starting to leave and she was feeling lighter. She began to examine the skeleton again under sulphur light, summarizing the facts of his death so far, the permanent truths, same for Colombo as for Troy. One forearm broken. Partial burning. Vertebrae damage in the neck. The possibility of a small bullet wound in the skull. Entrance and exit.

She could read Sailor’s last actions by knowing the wounds on bone. He puts his arms up over his face to protect himself from the blow. He is shot with a rifle, the bullet going through his arm, then into the neck. While he’s on the ground, they come up and kill him.

Coup de grace. The smallest, cheapest bullet. A.22’s path that her ballpoint pen could slide through. Then they attempt to set fire to him and begin to dig his grave in this burning light.

Anil entered Kynsey Road Hospital and passed the sign by the chief medical officer’s door.

Let conversations cease.

Let laughter flee.

This is the place where Death

Delights to help the living.

It was printed in Latin, Sinhala and English. Once in the laboratory, where she worked now and then in order to use better equipment, she could relax, alone in the large room. God, she loved a lab. The stools always had a slight rake so you sat in a lean. There would always be that earnest tilt forward. On the perimeter, along the walls, were the bottles that held beet-coloured liquids. She could walk around the table watching a body from the corner of her eye, then sit on the stool and time would be forgotten. No hunger or thirst or desire for a friend or lover’s company. Just an awareness of someone in the distance hammering a floor, banging through ancient concrete with a mallet as if to reach the truth.

She stood against the table and it nestled into her hipbones. She slid her fingers along the dark wood to feel for any grain of sand, any chip or crumb or stickiness. In her solitude. Her arms dark as the table, no jewellery except the bangle that would click as she lay her wrist down gently. No other sound as Anil thought through the silence in front of her.

These buildings were her home. In the five or six houses of her adult life, her rule and habit was always to live below her means. She had never bought a house and kept her rented apartments sparse. Though in her present rooms in Colombo there was a small pool cut into the floor for floating flowers. It was a luxury to her. Something to confuse a thief in the dark. At night, returning from work, Anil would slip out of her sandals and stand in the shallow water, her toes among the white petals, her arms folded as she undressed the day, removing layers of events and incidents so they would no longer be within her. She would stand there for a while, then walk wet-footed to bed.

She knew herself to be, and was known to others as, a determined creature. Her name had not always been Anil. She had been given two entirely inappropriate names and very early began to desire ‘Anil,’ which was her brother’s unused second name. She had tried to buy it from him when she was twelve years old, offering to support him in all family arguments. He would not commit himself to the trade though he knew she wanted the name more than anything else.

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