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 Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him.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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‘Is he the driver?’ She whispered it, not wanting to break the silence.

‘This is how they sometimes sleep, take a short rest. Simply stop in the wrong lane, leave the lights on, and stretch out on the road for half an hour or so. Or he could just be drunk.’

They drove on, Anil now fully awake, leaning with her back to the door so she could face Sarath as he spoke, hardly audible in the wind rushing into the windows. As an archaeologist he always travelled on night roads, more since his wife died, he said. There would be two trips every week-up to Puttalam or to the south coast. He accompanied teams of students puttering along the bunds of prawn farms for ancient village sites or he went to oversee the restoration of a stone bridge in Anuradhapura.

They were just south of Ambepussa and would reach the outskirts of Colombo in an hour. ‘When I was young, my father took bets with us-how many drunks we’d see sleeping by trucks, how many dogs we’d pass. A bonus if we saw a dog with a sleeping man. Or sometimes it would be a group of three or four dogs in the moon shadow of a stilled night truck. He’d bet with us to keep himself awake as he drove. He loved to bet.’

After a long pause Sarath continued. ‘All his life he gambled. We didn’t realize this when we were children. He had an ordered business life, he was a respected lawyer. We were a stable family. But he loved gambling, and our fortunes went up and down.’

‘All you want when you’re a kid is certainty.’

‘Yes.’

‘When you met your wife, you were sure, were you… that you were both…?’

‘I knew I loved her. But I was never certain of us, as a pair.’

‘Sarath, can you stop the car, please.’ She heard the slight hollow thump as his right foot slipped away from the accelerator. The car began to slow, not stopping. She was silent, staring ahead into the dark. He veered onto the shoulder and they sat in the dark purring vehicle.

‘You realize there were no dogs back there, by the truck.’

‘Yes. I thought that as soon as I spoke. There was something wrong.’

‘Perhaps it was a village of no dogs… We have to go back.’ She took her eyes off the road and looked at him, and the car jerked loose into a half-circle and drove north again.

They reached the truck in twenty minutes. The man by the truck was alive but couldn’t move. He was almost unconscious. Someone had hammered a bridge nail into his left palm and another into his right, crucifying him to the tarmac. He was the driver of the truck and as Sarath and Anil approached him a terrified look appeared on his face. As if they were coming back to kill him or torture him further.

She held the man’s face between her hands while Sarath prized the nails from the tarmac, freeing his hands.

‘You have to leave the nails in for now,’ she said. ‘Don’t remove them.’

Sarath explained to the man that she was a doctor. They got a blanket out of the trunk and wrapped him in it and carried him to the back seat. There was nothing to drink besides an inch or two of cordial, which he quickly swallowed.

They were going south again. Every time she turned to see how the man was, his eyes were wide open looking at them. She told Sarath they needed saline solution. She saw a faint light ahead and put her hand on Sarath’s arm to get him to stop. The car pulled over quietly and he shut off the motor.

‘What village is this?’

‘Galapitigama. The village of beautiful women,’ he said, like a refrain. She looked at him. ‘Supposedly. McAlpine said so.’

She climbed out and walked to the door of a house behind which she could see light. She smelled tobacco. Sarath was beside her.

‘We want salt. Hot water. If not hot, then cold will have to do. A small bowl of it-we need to take the bowl with us.’

When the door opened they saw a room busy at knee level. There were seven men around the perimeter, rolling cigarettes, weighing batches of them on scales, packaging them with thin string. Illegal night work. They wore only cotton sarongs in the hot, closed room, which was windowless. Three lamps on the floor where the piles of beedis were stacked up. Everything had a brownness, an orangeness, from the contained weaving flame of the lights. All of the men were in checkered blue-green sarongs.

The bare-chested man who opened the door stared past them to the car, nervous at their possible authority. Sarath explained that they needed a pot of hot water and salt, then as an afterthought asked for some beedis, if they would be willing to sell them. At which the man laughed.

One of the other men went out through the far door while she and Sarath stood on the threshold, then he returned with salt in one hand and a small bowl in the other. Anil enclosed his wrist with her fingers and turned it so the salt clouded into the water.

This time she got into the back seat beside the truck driver. Sarath said something to him over his shoulder and the man tentatively gave her his left hand. Under the faint roof light Anil soaked a handkerchief in the saline solution and squeezed it onto his palm, the bridge nail still in it. Then the other hand, then back again to the first.

Sarath started the engine.

There were forests on either side of the empty road. The motor’s hum filled the quietness, a thread in this silent world, just her and Sarath and the wounded man. Now and then a village, now and then an unmanned roadblock where they had to slow down and twist through the eye of a needle. As they passed a streetlamp Anil saw that what she was squeezing into his palms was now bloody water. Still she didn’t stop, because the movement kept him calm and awake, kept him from drifting into shock. The mutual gestures-her pull, his giving-were becoming hypnotic to both.

‘What’s your name?’

‘Gunesena.’

‘Do you live near here?’

The man rolled his head slightly, a tactful yes and no, and Anil smiled. In an hour they were within the outskirts of Colombo, and later drove into the compound of Emergency Services.

A Brother

In the operating rooms of the base hospitals in the North Central Province there were always four books in evidence: Hammon’s Analysis of 2,187 Consecutive Penetrating Wounds of the Brain in Vietnam; Gunshot Wounds by Swan and Swan; C. W. Hughes’s Arterial Repair During the Korean War; and Annals of Surgery. Doctors in the midst of an operation would have an orderly turn pages so they could skim the text while continuing surgery. After two weeks of fifteen-hour days they no longer needed assistance from books and moved with ease alongside wounds and suture techniques. But the medical texts remained, for future doctors in training.

In the doctors’ common room in a North Central Province hospital someone had left a copy of Elective Affinities among the other, more porous paperbacks. It remained there throughout the war, unread save by someone who might pick it up while waiting, consider its back-cover description, then replace it respectfully on the table with the others. These-a more popular gang that included Erle Stanley Gardner, Rosemary Rogers, James Hilton and Walter Tevis-were consumed in two or three hours, swallowed like sandwiches on the run. Anything to direct your thoughts away from a war.

The buildings that made up the hospital had been erected at the turn of the century. It had been managed in a lackadaisical way before the exaggeration of war. In the grass courtyard, signs from a more innocent time would last throughout the waves of violence. Half-dead soldiers who wished for sun and fresh air rested there and ate morphine tablets beside a BETEL CHEWING IS PROHIBITED sign.

The victims of ‘intentional violence’ had started appearing in March 1984. They were nearly all male, in their twenties, damaged by mines, grenades, mortar shells. The doctors on duty put down The Queen’s Gambit or The Tea Planter’s Bride and began arresting the haemorrhages. They removed metal and stone from lungs, sutured lacerated chests. In one of the hospital texts that the young doctor Gamini read was a sentence he became excessively fond of: In diagnosing a vascular injury, a high index of suspicion is necessary.

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