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 Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him.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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‘Do you think we can get a breakfast?’ she asked as they walked towards his car.

‘Are you married? Got a family?’

‘Not married. Not a swimmer.’

‘Right.’

‘The bodies turn up weekly now. The height of the terror was ’eighty-eight and ’eighty-nine, but of course it was going on long before that. Every side was killing and hiding the evidence. Every side. This is an unofficial war, no one wants to alienate the foreign powers. So it’s secret gangs and squads. Not like Central America. The government was not the only one doing the killing. You had, and still have, three camps of enemies-one in the north, two in the south-using weapons, propaganda, fear, sophisticated posters, censorship. Importing state-of-the-art weapons from the West, or manufacturing homemade weapons. A couple of years ago people just started disappearing. Or bodies kept being found burned beyond recognition. There’s no hope of affixing blame. And no one can tell who the victims are. I am just an archaeologist. This pairing by your commission and the government was not my idea-a forensic pathologist, an archaeologist, odd pairing, if you want my opinion. What we’ve got here is unknown extrajudicial executions mostly. Perhaps by the insurgents, or by the government or the guerrilla separatists. Murders committed by all sides.’

‘I couldn’t tell who was worst. The reports are terrible.’

He ordered another tea and looked at the food that had arrived. She had specifically asked for curd and jaggery. When they were finished he said, ‘Come. I’ll take you to the ship. Let me show you where we will work…’

The Oronsay, a passenger liner in the old days of the Orient Line, had been gutted of all valuable machinery and luxury furnishings. It had once travelled between Asia and England -from Colombo to Port Said, sliding through the narrow-gauge waters of the Suez Canal and journeying on to Tilbury Docks. By the 1970s it made just local trips. The rooms of tourist class were broken apart to become a cargo hold. Tea, fresh water, rubber products and rice replaced difficult passengers, save for a few souls, such as nephews of shareholders of the shipping line looking for work and adventure. It remained a ship of the Orient, a vessel that could survive the heat of Asia, that still contained the smells of salt water, rust and oil, and the waft of tea in cargo.

For the last three years the Oronsay had been berthed permanently in an unused quay at the north end of Colombo harbour. The grand ship had now become essentially part of the land and was being used by Kynsey Road Hospital as a storage and work area. With limited lab space in the hospitals in Colombo, a section of the transformed liner was to be Sarath and Anil’s base.

They left Reclamation Street and walked up the gangplank.

She struck a match, and in the dark hold, light focussed and spilled up her arm. She saw the cotton thread of ‘protection’ on her left wrist, and then the match went out. In the month since the raksha bandhana had been tied on during a friend’s pirith ceremony it had lost its rose colour. When she pulled on a rubber glove in the laboratory, the thread was even paler under it, as if within ice.

Next to her Sarath turned on a torch he had located during the flare of her match, and they both moved forward behind the spoke of twitching light, towards the metal wall. When they reached it he banged hard with the flat of his hand and they heard movement in the room beyond, the scurrying of rats. He banged again, and again there were sounds of movement. She murmured, ‘Like a man and a woman scrambling out of bed when his wife comes home,’ then stopped. Anil didn’t know him well enough to taunt the structure of marriages. She was about to add, Honey, I’m home.

Honey, I’m home, she would say, crouching beside a corpse to ascertain the hour of death. The phrase came out caustic or tender, depending on her mood, mostly in a whisper as she put her hand out and held her palm a millimetre over the flesh to take in its body heat. Its. Not his or hers anymore.

‘Bang it once more,’ she asked him.

‘I’ll use the claw hammer.’ This time the metallic noise echoed into the dark space, and when it died down everything became silent.

‘Close your eyes,’ he said. ‘I’ll light a sulphur lamp.’ But Anil had worked in night quarries alongside sulphur brightness, or in basements made naked by it. The porous light revealed a large room, the remnants of a toppled saloon counter in the corner, behind which she later would find a chandelier. This was to be their storage space and work lab, claustrophobic, the odour of Lysol in the air.

She noticed Sarath had already begun using the space to store some of his archaeological findings. There were rock and bone fragments wrapped in clear plastic all over the floor, crates roped tight. Well, she hadn’t come here to deal with the Middle Ages.

He was saying something she could not hear, while unlocking boxes, bringing out the results of a recent dig.

‘… mostly sixth century. We think it was a sacred grave for monks, near Bandarawela.’

‘Were any skeletons found?’

‘So far three of them. And some fossilized wood pots of the same period. Everything fits into the same time pattern.’

She pulled her gloves on and lifted an old bone to test the weight. The dating seemed right.

‘The skeletons were wrapped in leaves, then cloth,’ he told her. ‘Then stones were placed on top of them, which slid down later through the rib cage into the chest area.’

Years after a body was buried there would be a small shift on the surface of the earth. Then a falling of that stone into the space left by decayed flesh, as if signalling the departure of a spirit. This was a ceremony of nature that always affected her. As a child in Kuttapitiya Anil had once stepped on the shallow grave of a recently buried chicken, her weight driving the air in the dead body out through its beak-there was a muffled squawk, and she’d leapt back with fear, her soul jostled, then clawed earth away, terrified she would see the creature blink. But it was dead, sand in its eyes. Anil was still haunted by what had occurred that afternoon. She had buried it once more and walked backwards away from the grave.

Now she picked a fragment of bone from the detritus pile and rubbed it. ‘This is from the same place? It doesn’t seem sixth-century.’

‘All this material comes from the monks’ burial midden, in the government archaeological preserve. Nobody else gets in.’

‘But this bone-it doesn’t come from that time.’

He had stopped what he was doing and was watching her.

‘It’s a government-protected zone. The skeletons were interred in natural hollows near the Bandarawela caves. Skeletons and loose bones. It’s unlikely you’d find anything from another era.’

‘Can we go there?’

‘I suppose so. Let me try and get a permit.’

They climbed back up onto the deck of the ship, into sunlight and noise. They could hear powerboats in the main channel of Colombo harbour, megaphones shouting out over the crowded waterways.

On her first weekend, Anil borrowed a car and drove to a village a mile beyond Rajagiriya. She parked by a lot tucked away behind trees, so small she could not believe a house existed there. Large speckled leaves of crotons spilled into the courtyard. There seemed to be no one at home.

The day after she arrived in Colombo Anil had sent a letter but there had been no reply. So she didn’t know if this would be a wasted trip, whether the silence meant acceptance or the address she had was extinct. She knocked, then looked through the bars of the window, turning around quickly as she heard someone come out onto the porch. Anil could hardly recognize the tiny aged woman. They stood facing each other. Anil stepped forward to embrace her. Just then a young woman walked out and watched them without a smile. Anil was aware of the stern eyes that were taking in this sentimental moment.

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