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 Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him.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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It turned out, of course, that the woman was malefic. The only one she could have married safely was a man with the same star pattern. Thus any man born under such a star was sought after by such women. Men who were malefic also had to marry a woman with the same star, but it was believed that women in this state were considerably more dangerous than men. When a malefic man married a nonmalefic woman, she did not necessarily die. But if a woman did, the man would always die. She was henahuru, literally ‘a pain in the neck.’ Though more dangerous.

Ironically, Sarath, the son of the third brother, born some years later and having no connection with the wife of the first two brothers, was born with Mars in the Seventh House. ‘My father married the woman he fell in love with,’ Sarath says. ‘He did not even consult her stars. I was born. My brother was born. I heard the story years later. I saw it as just an old wives’ tale, random celestial positioning. Such beliefs seem a medieval comfort. I could say, for instance, that during the years I studied abroad I had Jupiter in my head and it helped me pass my exams. And when I returned, Venus replaced it and I fell in love. Venus is sometimes not good, it can make you frivolous in judgement. But these are not beliefs I hold.’

‘Neither do I,’ she says. ‘We do it to ourselves.’

Anil had come out of her first class at Guy’s Hospital in London with just one sentence in her exercise book: The bone of choice would be the femur.

She loved the way the lecturer had stated it, offhand, but with the air of a pompatus. As if this piece of information were the first rule needed before they could progress to greater principles. Forensic studies began with that one thighbone.

What surprised Anil as the teacher delineated the curriculum and the field of study was the quietness of the English classroom. In Colombo there was always a racket. Birds, lorries, fighting dogs, a kindergarten’s lessons of rote, street salesmen-all their sounds entered through open windows. There was no chance of an ivory tower existing in the tropics. Anil wrote Dr. Endicott’s sentence down and a few minutes later underlined it with her ballpoint in the hushed quiet. For the rest of the hour she just listened and watched the lecturer’s mannerisms.

It was while studying at Guy’s that Anil found herself in the smoke of one bad marriage. She was in her early twenties and was to hide this episode from everyone she met later in life. Even now she wouldn’t replay it and consider the level of damage. She saw it more as some contemporary fable of warning.

He too was from Sri Lanka, and in retrospect she could see that she had begun loving him because of her loneliness. She could cook a curry with him. She could refer to a specific barber in Bambalapitiya, could whisper her desire for jaggery or jakfruit and be understood. That made a difference in the new, too brittle country. Perhaps she herself was too tense with uncertainty and shyness. She had expected to feel alien in England only for a few weeks. Uncles who had made the same journey a generation earlier had spoken romantically of their time abroad. They suggested that the right remark or gesture would open all doors. Her father’s friend Dr. P. R. C. Peterson had told the story of being sent to school in England as an eleven-year-old. On the first day he was called a ‘native’ by a classmate. He stood up at once and announced to the teacher, ‘I’m sorry to say this, sir, but Roxborough doesn’t know who I am. He called me a “native.” That’s the wrong thing to do. He is the native and I’m the visitor to the country.’

But acceptance was harder than that. Having been a mild celebrity in Colombo because of her swimming, Anil was shy without the presence of her talent, and found it difficult to enter conversations. Later, when she developed her gift for forensic work, she knew one of the advantages was that her skill signalled her existence-like a neutral herald.

In her first month in London she’d been constantly confused by the geography around her. (What she kept noticing about Guy’s Hospital was the number of doors!) She missed two classes in her first week, unable to find the lecture room. So for a while she began arriving early each morning and waited on the front steps for Dr. Endicott, following him through the swing doors, stairways, grey-and-pink corridors, to the unmarked classroom. (She once followed him and startled him and others in the men’s bathroom.)

She seemed timid even to herself. She felt lost and emotional. She murmured to herself the way one of her spinster aunts did. She didn’t eat much for a week and saved enough money to phone Colombo. Her father was out and her mother was unable to come to the phone. It was about one in the morning and she had woken her ayah, Lalitha. They talked for a few minutes, until they were both weeping, it felt, at the far ends of the world. A month later she fell within the spell of her future, and soon-to-be, and eventually ex-, husband.

It seemed to her he had turned up from Sri Lanka in bangles and on stilts. He too was a medical student. He was not shy. Within days of their meeting he focussed his wits entirely on Anil-a many-armed seducer and note writer and flower bringer and telephone-message leaver (he had quickly charmed her landlady). His organized passion surrounded her. She had the sense that he had never been lonely or alone before meeting her. He had panache in the way he could entice and choreograph the other medical students. He was funny. He had cigarettes. She saw how he mythologized their rugby positions and included such things in the fabric of their conversations until they were familiar touchstones-a trick that never left any of them at a loss for words. A team, a gang, that was in fact only two weeks deep. They each had an epithet. Lawrence who had thrown up once on the Underground, the siblings Sandra and Percy Lewis whose family scandals were acknowledged and forgiven, Jackman of the wide brows.

He and Anil were married quickly. She briefly suspected that for him it was another excuse for a party that would bond them all. He was a fervent lover, even with his public life to choreograph. He certainly opened up the geography of the bedroom, insisting on lovemaking in their nonsoundproof living room, on the wobbly sink in the shared bathroom down the hall, on the boundary line quite near the long-stop during a county cricket match. These private acts in an almost public sphere echoed his social nature. There seemed to be no difference for him between privacy and friendship with acquaintances. Later she would read that this was the central quality of a monster. Still, there was considerable pleasure on both their parts during this early period. Though she realized it was going to be crucial for her to come back to earth, to continue her academic studies.

When her father-in-law visited England he swept them up and took them out to dinner. The son was for once quiet, and the father attempted to persuade them to return to Colombo and have his grandchildren. He kept referring to himself as a philanthropist, which appeared to give him a belief that he was always on higher moral ground. As the dinner progressed she felt that every trick in the Colombo Seven social book was being used against her. He objected to her having a full-time career, keeping her own name, was annoyed at her talking back. When she described classroom autopsies during the trifle, the father had been outraged. ‘Is there nothing you won’t do?’ And she had replied, ‘I won’t go to crap games with barons and earls.’

The next day the father lunched alone with his son, then flew back to Colombo.

At home the two of them fought now over everything. She was suspicious of his insights and understanding. He appeared to spend all his spare energy on empathy. When she wept, he would weep. She never trusted weepers after that. (Later, in the American Southwest, she would avoid those television shows with weeping cowboys and weeping priests.) During this time of claustrophobia and marital warfare, sex was the only mutual constant. She insisted on it as much as he. She assumed it gave the relationship some normality. Days of battle and fuck.

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