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 Since his wife's suicide, he has withdrawn into his work, attempting to buffer himself against the horrors being perpetrated all around him.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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She woke at about seven in the morning, the room dark and hot, and slid naked from the large bed where Cullis was still dreaming. She already missed the labs. Missed the thrill that got knocked into her when they snapped lights on over the aluminum tables.

The Miami bedroom had the atmosphere of a boutique, with its embroidered pillows and carpeting. She entered the bathroom and washed her face, ran some cold water through her hair, wide awake. She climbed into the shower and turned it on but after a minute came out with an idea. Not bothering to dry herself, she unzipped her travelling bag and pulled from it the large, outdated videocamera she had brought with her to Miami to get a new microphone part installed. It was a secondhand television camera that the forensic team used, a remnant from the early eighties. She used it on sites and was accustomed to its weight and its weaknesses. She inserted a cassette and hoisted it onto her wet shoulder. Switched it on.

She began with the room, then returned to the bathroom and filmed herself waving briefly into the mirror. A close-up of the texture of the towels, a close-up of the shower water still running. She stood on the bed and shot down at Cullis’s sleeping head, his left arm out to where she had been all night beside him. Her pillow. Back to Cullis, his mouth, his lovely ribs, back off the bed onto floor level, the camera steady, down to his ankles. Walked backwards to take in their clothes on the floor, and then to the table to his notebook. Close-up on his writing.

She removed the cassette from the machine and buried it under some clothes in his suitcase. She packed the camera in her bag, then got back into bed beside him.

They were lying in bed, in the sunlight. ‘I can’t imagine your childhood,’ he said. ‘You are a complete stranger to me. Colombo. Is the place languid?’

‘It’s languid indoors. Frenetic outside.’

‘You don’t go back.’

‘No.’

‘A friend of mine went to Singapore. All that air-conditioning! He said it was like being stuck in Selfridges for a week.’

‘I suspect people in Colombo would love it to be Selfridges.’

Their life together was best in these brief quiet times, lazily, postcoitally conversing. To him she was clear and funny and beautiful, to her he was married, always interesting, permanently defensive. Two out of three was not good.

They had met on another occasion, in Montreal. Anil was there for a convention, and Cullis had run into her in a hotel lobby quite by chance.

‘I’m sneaking away,’ she said. ‘Enough!’

‘Have dinner with me.’

‘I’ve got plans. I promised myself this evening with a group of friends. Join us. We’ve had days and days of papers. I promise you the worst meal in Montreal if you come with me.’

They drove through the suburbs.

‘Do you speak French?’ he asked.

‘No. Just English. I can write some Sinhala.’

‘Is that your background?’

A no-name plaza appeared on the side of the highway, and she parked beneath the blinking lights of a Bowlerama. ‘I live here,’ she said. ‘In the West.’

Cullis was introduced to seven other anthropologists, who looked him over carefully and considered his posture to assess whether he would be useful on their team. They seemed to come from all over the world. Having flown to Montreal from Europe and Central America, they had escaped another slide show and were now, like Anil, ready for bowling. Bad red wine from a machine dribbled into small paper cups like the ones dentists offered and was being consumed by them at great speed, along with chips and vinegar and canned hummus. A paleontologist organized the computer-scoring panels, and within ten minutes these forensic celebrities, probably the only non-French-speakers in the Bowlerama, were goblinlike in their bowling shoes, and indeed raucous. There was competitive cheating. There was the dropping of bowling balls onto the parquet lanes. Cullis did not wish for his dead body ever to be touched by such incompetents, who committed so many foot faults. More and more, as the contest progressed, he and Anil rushed to each other to give hugs of congratulations. He felt light in his speckled shoes, he flung the ball without aiming and knocked over what sounded like a bucketful of nails. She came over and kissed him, tentatively but precisely on the back of the neck. They left the arcade in each other’s arms.

‘Must be something in the hummus. Was that real hummus?’

‘Yes.’ She laughed.

‘A known aphrodisiac…’

‘I’ll never sleep with you if you say you don’t like The Artist Formerly Known As… Kiss me here. Do you have a difficult middle name I have to learn?’

‘Biggles.’

‘Biggles? As in Biggles Flies East and Biggles Wets His Bed?’

‘Yes, that Biggles. My dad grew up on his books.’

‘I never wanted to marry a Biggles. I always wanted to marry a tinker. I love that word…’

‘Tinkers don’t have wives. Not if they are true tinkers.’

‘You’ve got a wife, don’t you?’

***

In the ship’s lab in the harbour, one night, working alone, she cut herself badly with a surgical blade, slicing the flesh along her thumb. She poured Dettol over it and taped it, then decided to go to the hospital on the way home; she didn’t want it infected-there were those rats always in the hold, scurrying perhaps over the instruments when she and Sarath were not there. She was tired and hailed a late-night bajaj that dropped her off at Emergency Services.

There were about fifteen souls sitting or lying on the long benches. Now and then a doctor strolled in, signalled for the next patient and went off with him. She was there for more than an hour and in the end gave up, because more and more injured were coming in off the street and her wound began to seem insignificant in comparison. But that wasn’t why she left. A man wearing a black coat walked in and sat down among them, blood on his clothes. He remained there in silence, waiting for someone to help him, not bothering to pick up a number like the rest of them. Eventually there were three empty spaces on the bench and he stretched out, took off his black coat and used it as a pillow, but he couldn’t sleep and his open eyes stared across the room at her.

His face was red and wet from the blood on the coat. He sat up, pulled a book out of his pocket and began reading very fast, turning pages, taking it in quickly. He swallowed a tablet and lay down again and this time dropped off, his circumstances and surroundings lost to him. A nurse approached him and touched him on the shoulder; when he didn’t move she kept her hand there. Anil was to remember all this very well. He got up then, pocketed the book, and touched one of the other patients and disappeared with him. He was a doctor. The nurse picked up the coat and took it away. That was when Anil left. If she couldn’t tell who was who in a hospital, what chance did she have?

T he National Atlas of Sri Lanka has seventy-three versions of the island-each template revealing only one aspect, one obsession: rainfall, winds, surface waters of lakes, rarer bodies of water locked deep within the earth.

The old portraits show the produce and former kingdoms of the country; contemporary portraits show levels of wealth, poverty and literacy.

The geological map reveals peat in the Muthurajawela swamp south of Negombo, coral along the coast from Ambalangoda to Dondra Head, pearl banks offshore in the Gulf of Mannar. Under the skin of the earth are even older settlements of mica, zircon, thorianite, pegmatite, arkose, topaz, terra rossa limestone, dolomite marble. Graphite near Paragoda, green marble at Katupita and Ginigalpelessa. Black shale at Andigama. Kaolin, or china clay, at Boralesgamuwa. Plumbago graphite-veins and flakes of it-graphite of the greatest purity (ninety-seven percent carbon), which would be mined in Sri Lanka for one hundred and sixty years, especially during the World Wars, six thousand pits around the country, the main mines at Bogala, Kahatagaha and Kolongaha.

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