Michael Ondaatje - Anil's Ghost

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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 Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him.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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Cave 14 was once the most beautiful site in a series of Buddhist cave temples in Shanxi province. When you entered, it looked as if huge blocks of salt had been carted away. The panorama of Bodhisattvas-their twenty-four rebirths-were cut out of the walls with axes and saws, the edges red, suggesting the wound’s incision.

‘Nothing lasts,’ Palipana told them. ‘It is an old dream. Art burns, dissolves. And to be loved with the irony of history-that isn’t much.’ He said this in his first class to his archaeology students. He had been talking about books and art, about the ‘ascendancy of the idea’ being often the only survivor.

This was the place of a complete crime. Heads separated from bodies. Hands broken off. None of the bodies remained-all the statuary had been removed in the few years following its discovery by Japanese archaeologists in 1918, the Bodhisattvas quickly bought up by museums in the West. Three torsos in a museum in California. A head lost in a river south of the Sind desert, adjacent to the pilgrim routes.

The Royal Afterlife.

On her second morning they asked Anil to meet with forensic students in Kynsey Road Hospital. It wasn’t what she was here for, but she agreed to it. She had not yet met Mr. Diyasena, the archaeologist selected by the government to be teamed with her in the Human Rights investigation. There had been a message that he was out of town and that he would contact her as soon as he returned to Colombo.

The first body they brought in was very recently dead, the man killed since she had flown in. When she realized it must have happened during her early-evening walk in the Pettah market, she had to stop her hands from trembling. The two students looked at each other. She never usually translated the time of a death into personal time, but she was still working out what hour it was in London, in San Diego. Five and a half hours. Thirteen and a half hours.

‘Is this your first corpse, then?’ one of them asked.

She shook her head. ‘The bones in both arms are broken.’ Here it was, in front of her already.

She looked up at the young men. These were students who had not yet graduated, young enough to be appalled. It was the freshness of the body. It was still someone. Usually the victims of a political killing were found much later. She dipped each of the fingers in a beaker of blue solution so she could check for cuts and abrasions.

‘About twenty years old. Dead twelve hours. Do you agree?’

‘Yes.’

‘Yes.’

They seemed nervous, even afraid.

‘What are your names again?’

They told her.

‘The important thing is to say out loud what your first impressions are. Then rethink them. Admit you can make mistakes.’ (Should she be lecturing them?) ‘If you are wrong the first time, redraw the picture. Maybe you can catch what was overlooked… How did they break the arms without damaging the fingers? It’s strange. Your hands go up to protect yourself. Usually the fingers get damaged.’

‘Maybe he was praying.’

She stopped and looked up at the student who had spoken.

The next corpse brought in had flail fractures on the rib cage. It meant he had fallen from a great height-at least five hundred feet-before hitting the water belly-down. The air knocked out of the body. It meant a helicopter.

She woke early the next morning in her rented house on Ward Place and walked into the darkness of the garden, following the sound of koha birds busy with their claims and proclamations. She stood there drinking her tea. Then walked to the main road as a light rain began. When a three-wheeler taxi stopped by her she slipped into it. The taxi fled away, squeezing itself into every narrow possibility of the dense traffic. She held on to the straps tightly, the rain at her ankles from its open sides. The bajaj was cooler than an air-conditioned car, and she liked the throaty ducklike sound of the horns.

Those first days in Colombo it seemed she always found herself alone when the weather broke. The touch of rain on her shirt, the smell of dust in the wetness. Clouds would suddenly unlock and the city would turn into an intimate village full of people acknowledging the rain and yelling to one another. Or there would be an uncertain acceptance of the rain in case it was only a brief shower.

Years before her parents had given a dinner party. They had set up the long table in their parched and dry garden. It was the end of May but the drought had gone on and on and still there was no monsoon. Then, towards the end of the meal, the rains began. Anil woke in her bedroom to the change in the air, ran to her window and looked out. The guests were scurrying under the thickness of the downpour, carrying antique chairs into the house. But her father and the woman he was beside continued to sit at the table, celebrating the break in seasons, as earth turned to mud around them. Five minutes, ten minutes, they sat and talked, she thought, just to make sure it was not a passing shower, to make sure the rain would keep coming down.

Ducklike horns.

The rain swept across Colombo as her bajaj proceeded via a shortcut, towards the Archaeological Offices. Lights were coming on here and there in the small shops. She leaned forward. ‘Some cigarettes, please.’ They swerved to a halt against the pavement and the driver yelled towards a shop. A man came into the rain with three different kinds of cigarettes and she picked out the Gold Leaf package and paid him. They took off again.

Suddenly Anil was glad to be back, the buried senses from childhood alive in her. The application she had made to the Centre for Human Rights in Geneva, when a call had gone out for a forensic anthropologist to go to Sri Lanka, had originally been halfhearted. She did not expect to be chosen, because she had been born on the island, even though she now travelled with a British passport. And it seemed somewhat unlikely that human rights specialists would be allowed in at all. Over the years complaints from Amnesty International and other civil rights groups had been sent to Switzerland and resided there, glacierlike. President Katugala claimed no knowledge of organized campaigns of murder on the island. But under pressure, and to placate trading partners in the West, the government eventually made the gesture of an offer to pair local officials with outside consultants, and Anil Tissera was chosen as the Geneva organization’s forensic specialist, to be teamed with an archaeologist in Colombo. It was to be a seven-week project. Nobody at the Centre for Human Rights was very hopeful about it.

As she entered the Archaeological Offices she heard his voice.

‘So-you are the swimmer!’ A broad-chested man in his late forties was approaching her casually, with his hand out. She hoped this wasn’t Mr. Sarath Diyasena, but it was.

‘The swimming was a long time ago.’

‘Still… I may have seen you at Mount Lavinia.’

‘How?’

‘I went to school at St. Thomas ’s. Right there. Of course I’m a bit older than you are.’

‘Mr. Diyasena… let’s not mention swimming again, okay? A lot of blood under the bridge since then.’

‘Right. Right,’ he said in a drawl she would become familiar with, a precise and time-stalling mannerism in him. It was like the Asian Nod, which included in its almost circular movement the possibility of a no. Sarath Diyasena’s ‘Right,’ spoken twice, was an official and hesitant agreement for courtesy’s sake but included the suggestion that things were on hold.

She smiled at him, wanting to get over the fact that they had managed to clash in their first few sentences. ‘A true pleasure to meet you. I’ve read several of your papers.’

‘Of course I’m in the wrong era for you. But I know most of the locations at least…’

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