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 Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him.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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He had been in love with just one woman and she was not the one he married. Later there was another woman, a wife in a field hospital near Polonnaruwa. Eventually he felt himself on a boat of demons and himself to be the only clearheaded and sane person there. He was a perfect participant in the war.

The rooms Sarath and Gamini lived in as children were hidden from the sunlight of Colombo, from traffic noises and dogs, from other children, from the sound of the metal gate clanging into its socket. Gamini remembers the swivel chair he spun in, bringing whirling chaos to the papers and shelves, the forbidden atmosphere of his father’s office. All offices, for Gamini, would have the authority of complex secrets. Even as an adult, stepping into such rooms made him feel unworthy and illicit. Banks, law firms, underlined his uncertainty, gave him a sense of being in a headmaster’s room, believing that things would never be explained enough for him to understand.

We evolve deviously. Gamini grew up not knowing half the things he thought he was supposed to know-he was to make and discover unusual connections because he had not known the usual routes. He was for most of his life a boy spinning in a chair. And just as things had been kept away from him, he too became a container of secrets.

In the house of his childhood he would press his right eye into a door handle, he would knock gently and if there was no reply slip into his parents’ room, a brother’s room, an uncle’s room, during their afternoon sleep. Then walk barefoot towards the bed and look at the sleepers, look from the window and leave. Not much going on there. Or silently approach a gathering of adults. He was already in the habit of not speaking unless responding to a question.

He was staying at his aunt’s house in Boralesgamuwa, and she and her friends were playing bridge on the long porch that surrounded the house. He came towards them carrying a lit candle, shielding the flame. He placed it on a side table a yard or so to the right of them. No one noticed this. He drifted back into the house. A few minutes later Gamini crawled on his belly with his air rifle through the grass, stalking his way from the bottom of the garden towards the house. He was wearing a small camouflage hat of leaves to disguise his presence even further. He could almost hear the four women bidding, having halfhearted conversations.

He estimated they were twenty yards away. He loaded the air rifle and positioned himself like a sniper, elbows down, legs at angles to give him balance and firmness, and fired. Nothing was hit. He reloaded and settled in to aim again. This time he hit the side table. One of the women looked up, cocking her head, but she could see nothing around her. What he wished to do was shoot out the flame of the candle with the pellet, but the next shot flew low, only a few inches above the red porch floor, and hit an ankle. At that instant, simultaneous with the gasp from Mrs. Coomaraswamy, his aunt looked up and saw him with the air rifle hugged against his cheek and shoulder, aiming right at them.

Gamini felt happiest when he stepped from disorganized youth into the exhilaration of work. On his first medical appointment, travelling to the hospitals in the northeast, it seemed he was finally part of a nineteenth-century journey. He remembered the memoir he had read by old Dr. Peterson, who wrote of such travels, it must have been, sixty years before. His book included etchings-a hackery travelling along canopied roads, bulbuls drinking at a tank-and Gamini recalled one sentence.

I travelled by train to Matara and the rest of the way on horse and cart, with a bugler going ahead all the way, blowing his bugle to keep the wild animals off the road.

Now, in the middle of civil war, he rode the slow, wheezing bus at almost the same pace, into almost the same landscape. In a small romantic section of his heart he wished for a bugler.

There were just five doctors working in the northeast. Lakdasa was in charge, responsible for assigning them out to the peripherals and the small villages. Skanda was main surgeon, head of triage operations when there was an emergency. There was the Cuban, with them for just one year. C-, the eye doctor, who had joined three months earlier. ‘She’s got an unreliable diploma,’ Lakdasa said to the others after a week, ‘but she works hard, and I’m not letting her go.’ And the young graduate Gamini in his first posting.

From the base hospital at Polonnaruwa they would travel to peripheral hospitals, where some of them were to live. An anaesthetist turned up one day a week, which was the day surgery was performed. If there were emergency operations on other days, they improvised with chloroform or whatever pills they could find to knock the patient out. And from the base hospital they drove to places Gamini had never heard of and couldn’t even locate on a map-Araganwila, Welikande, Palatiyawa, visiting clinics in half-built schoolrooms, met by mothers and infants, malaria and cholera patients.

The doctors who survived that time in the northeast remembered they never worked harder, were never more useful than to those strangers who were healed and who slipped through their hands like grain. Not one of them returned later into the economically sensible careers of private practice. They would learn everything of value here. It was not an abstract or moral quality but a physical skill that empowered them. There were no newspapers or varnished tables or good fans. Now and then a book, now and then the radio with cricket commentary alternating between Sinhala and English. They allowed a transistor radio into the operating room on special occasions or for a crucial few hours in a test match. When the commentator switched to English there had to be an instant translation into Sinhala by Rohan, the anaesthetist. He was the most bilingual of the staff, having had to read the small-type texts that came with tanks of oxygen. (Rohan was a reader, in any case, often travelling down to Colombo by bus to hear a local or visiting South Asian writer read from a new book at the Kelaniya campus.) Patients in the surgical ward often drifted back into consciousness and found themselves within the drama of a cricket match.

They shaved at night beside a candle and slept clean-shaven as princes. Then they woke at five a.m., in the dark. They would lie there for a moment locating themselves, trying to remember the shape of the room. Was there a mosquito net above them or a fan, or just a Lion brand mosquito coil? Were they in Polonnaruwa? They travelled so much, they slept in so many places. There was the stirring outside of koha birds. A bajaj. Predawn loudspeakers being turned on so there was just their hum and crackle. The doctors opened their eyes when someone touched them on the shoulder, in silence, as if in enemy territory. And there was the darkness, and the minimal clues as to where they were. Ampara? Manampitiya?

Or they would wake too soon and it was still only three hours past midnight, and they feared they would not go back to sleep again but did so within the sweep of a minute. Not one of them had sleeplessness in those days. They slept like pillars of stone, remaining in the same position they had lowered themselves into in the bed or cot or on the rattan mat, on their backs or facedown, usually on their backs because it allowed them the pleasure for a few seconds of resting, with all their senses alive, certain of coming sleep.

Within minutes of waking they got dressed in the dark and gathered in the corridors, where there was hot tea. Soon they would be driving the forty miles to clinics, the vehicle chiselling with two weak headlamps through the darkness, jungle and an unseen view alongside them, now and then a villager’s fire beside the road. They would stop at a food stall. A ten-minute breakfast of fish cutlets in the lesser dark. The noise of utensils being passed. Lakdasa coughing. Still no conversation. Just the intimacy of walking across a road with a cup of tea for someone. These always felt like significant expeditions. They were kings and queens.

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