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 Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him.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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This rock hand could have been his wife’s hand. It had a similar darkness and age to it, a familiar softness. And with ease he could have re-created her life, their years together, with the remaining fragments of her room. Two pencils and a shawl would have been enough to mark and recall her world. But their life remained buried. Whatever motives she had for leaving him, whatever vices and faults and lack he had within him that drove her away had remained unsought by Sarath. He was a man who could walk past a stretch of field and imagine a meeting hall that had been burned to the ground there six hundred years before; he could turn to that absence and with a smoke smudge, a fingerprint, re-create the light and the postures of those sitting there during an evening’s ceremony. But he would unearth nothing of Ravina. This was not caused by any anger towards her, he was just unable to step back to the trauma of that place when he had talked in darkness, pretending there was light. But now, this afternoon, he had returned to the intricacies of the public world, with its various truths. He had acted in such a light. He knew he would not be forgiven that.

He and Gunesena pushed the trolley against the incline. There was hardly any air in the tunnel. Sarath put on the brake.

‘Get some water, Gunesena.’

Gunesena nodded. There was irritation in the formal gesture. He went off, leaving Sarath in the half-dark, and returned five minutes later with a beaker of water.

‘Was it boiled?’

Again Gunesena nodded. Sarath drank it and then got off the floor where he had been sitting. ‘I’m sorry, I was feeling faint.’

‘Yes, sir. I had a tumbler too.’

‘Good.’

He remembered Gunesena drinking the remnant of cordial, Anil holding the bottle, the night they had picked him up on the Kandy road.

They continued a while longer with the trolley. Pushed the double swing doors and broke out into daylight.

The noise and sun almost made him step back. They had come out into the officers’ parking lot. A few drivers stood in the shade of the one tree. Others remained within their cars, the air-conditioning purring. Sarath looked towards the main entrance but couldn’t see her. He was no longer sure she would make it out. The van that was to carry the skeleton they were going to give Anil pulled up beside them and Sarath supervised the loading. The young soldiers wanted to know everything that was going on. It had nothing to do with suspicion, they were just curious. Sarath desired some pause or quiet but he knew he would not get it. The questions were personal not official. Where was he from? How long had he been…? The only way he could escape them was to answer. When they began asking about the figure on the trolley, he waved his hands in front of his face and left Gunesena with them.

She hadn’t come out of the building. He knew, whatever had happened, he couldn’t go in looking for her. She would have to go through the hurdles of insult and humiliation and embarrassments on her own. It was almost an hour since he had last seen her.

He needed to keep busy. Beyond the fence a man was selling sliced pineapple so Sarath bought some through the barbed wire and sprinkled the salt-and-pepper mixture on it. A rupee for two slices. He could go into the lobby, out of the sunlight, but he didn’t know whether he could trust her not to lose her temper and endanger herself more.

An hour and a half now. When he turned and looked back for the fourth time he saw her at the doors. Just standing there, not moving, not knowing where she was or what she was supposed to do.

He came towards her, his fist clenched, his mind swirling.

‘Are you all right?’

She looked down, away from him.

‘Anil.’

She pulled her arm from him. He noticed she was carrying no briefcase. No papers. No forensic equipment. He put his hand on her chest to feel for the small test tubes in the inner pocket of her coat but they were not there. She didn’t react to that. Even in her state she did at least understand what he was doing.

‘I told you I would return to the walawwa.’

‘You didn’t.’

‘Everyone pays attention. My brother told you that. People knew you were in Colombo the moment you got here.’

‘Damn you.’

‘You have to leave now.’

‘No, thanks. No more help from you.’

‘Take the skeleton I’ve given you and get in the van. Go back to the ship with Gunesena.’

‘All my papers are in that building. I have to get them back.’

‘You’ll never get them back. Do you understand? Forget them. You will have to re-create them. You can buy new equipment in Europe. You can replace nearly everything. It’s just you who has to be safe.’

‘Thanks for your help. Keep your fucking skeleton.’

‘Gunesena, get the van.’

‘Listen…’ She swung her look towards him. ‘Tell him to take me home. I don’t think I can walk there. I really don’t want your fucking help. But I can’t walk. I was… in there…’

‘Go to the lab.’

‘Jesus, keep your-’

He slapped her hard. He was aware of people on the periphery, her gasp, her face as if it contained fever.

‘Go with the skeleton and work on it. You don’t have long. Don’t call me. Get it done overnight. They want a report in two days. But get it done tonight.’

She was so stunned by his behaviour she climbed slowly into the van, which had drawn up beside her. Sarath watched her. He handed Gunesena the pass through the window. He saw her lowered burning face as the van curled out of his sight.

There was no vehicle for him. He went past the guards at the gate, out onto the street, waved down a bajaj and gave the driver the address of his office. You could never settle back and relax in a bajaj; if you lost concentration you were in danger of falling out. But sitting forward, his head in his hands, he tried to lose touch with the world around him as the three-wheeler struggled through the traffic.

Anil climbed the gangplank, then walked along the upper deck. A harbour in the afternoon. She could hear whistles and horns in the far reaches of the port. She wanted openness and air, didn’t want to face the darkness in the hold. Farther down the quay she saw a man with a camera. Anil stepped back so he would be out of sight.

She knew she wouldn’t be staying here much longer, there was no wish in her to be here anymore. There was blood everywhere. A casual sense of massacre. She remembered what a woman at the Nadesan Centre had said to her. ‘I got out of the Civil Rights Movement partly because I couldn’t remember which massacre took place when and where…’

It was about five now. Anil found the arrack bottle and poured herself a glass, and walked the narrow steps down into the hold.

‘Everything all right, miss?’

‘Thank you, Gunesena. You can go.’

‘Yes, miss.’ Yet she knew he would stay with her, somewhere on the ship.

She turned on a lamp. There was the other set of tools, which belonged to Sarath. She heard the door close behind her.

She drank more arrack and spoke out loud, just to hear the echo in the dim light so she would not feel alone with the ancient skeleton she had been given. She cut the plastic wrapping with an X-acto knife and rolled it down. She recognized it immediately. But to be certain moved her right hand down to the heel and felt the notch in the bone that she had cut weeks earlier.

He had found Sailor. Slowly she directed another lamp onto him. The ribs like struts on a boat. She slid her hand between the arched bones and touched the tape recorder that was there, not believing this now, not yet, until she pressed the button and voices began filling the room around her. She had the information on tape. Their questions. And she had Sailor. She put her hand between the ribs again to press the button to stop it, but as she was about to, his voice came on, very clear and focused. He must have held the recorder close to his mouth as he whispered.

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