The English Patient

by Michael Ondaatje

  There was also a small handbook that had a map of bombs. And a drawing of a saint accompanied by a musician.

  She packed everything back in except the photograph, which she held in her free hand. She carried the bag through the trees, walked across the loggia and brought it into the house.

  Each hour or so he slowed to a stop, spat into the goggles and wiped dust off with the sleeve of his shirt. He looked into the map again. He would go to the Adriatic, then south. Most of the troops were at the northern borders.

  He climbed into Cortona, the high-pitched gunning of the bike all around him. He rode the Triumph up the steps to the door of the church and then walked in. A statue was there, bandaged in scaffold. He wanted to get closer to the face, but he had no rifle telescope and his body felt too stiff to climb up the construction pipes. He wandered around underneath like somebody unable to enter the intimacy of a home. He walked the bike down the church steps, and then coasted down through the shattered vineyards and went on to Arezzo.

  At Sansepolcro he took a winding road into the mountains, into their mist, so he had to slow to minimal speed. The Bocca Trabaria. He was cold but locked the weather out of his mind. Finally the road rose above the whiteness, the mist a bed behind him. He skirted Urbino where the Germans had burned all the field horses of the enemy. They had fought here in this region for a month; now he slid through in minutes, recognizing only the Black Madonna shrines. The war had made all the cities and towns similar.

  He came down towards the coast. Into Gabicce Mare, where he had seen the Virgin emerge from the sea. He slept on the hill, overlooking cliff and water, near where the statue had been taken. That was the end of his first day.

  Dear Clara – Dear Maman,

  Maman is a French word, Clara, a circular word, suggesting cuddles, a personal word that can be even shouted in public. Something as comforting and as eternal as a barge. Though you, in spirit, I know are still a canoe. Can swerve one around and enter a creek in seconds. Still independent. Still private. Not a barge responsible for all around you. This is my first letter in years, Clara, and I am not used to the formality of them. I have spent the last few months living with three others, and our talk has been slow, casual. I am not used to talking in any way but that now.

  The year is 194–. What? For a second I forget. But I know the month and the day. One day after we heard the bombs were dropped in Japan, so it feels like the end of the world. From now on I believe the personal will forever be at war with the public. If we can rationalize this we can rationalize anything.

  Patrick died in a dove-cot in France. In France in the seventeenth and eighteenth centuries they built them huge, larger than most houses. Like this.

  The horizontal line one-third of the way own down was called the rat ledge – to stop rats running up the brick, so the doves would be safe. Safe as a dove-cot. A sacred place. Like a church in many ways. A comforting place. Patrick died in a comforting place.

  At five a.m. he kicked the Triumph to life, and the rear wheel threw gravel in a skirt. He was still in darkness, still unable to distinguish sea in the vista beyond the cliff. For the journey from here to the south he had no maps, but he could recognize the war roads and follow the coast route. When sunlight came he was able to double his speed. The rivers were still ahead of him.

  Around two in the afternoon he reached Ortona, where the sappers had laid the Bailey bridges, nearly drowning in the storm in mid-river. It began to rain and he stopped to put on a rubber cape. He walked around the machine in the wetness. Now, as he travelled, the sound in his ears changed. The shush shush replacing the whine and howl, the water flung onto his boots from the front wheel. Everything he saw through the goggles was grey. He would not think of Hana. In all the silence within the bike’s noise he did not think of her. When her face appeared he erased it, pulled the handlebars so he would swerve and have to concentrate. If there were to be words they would not be hers; they would be names on this map of Italy he was riding through.

  He feels he carries the body of the Englishman with him in this flight. It sits on the petrol tank facing him, the black body in an embrace with his, facing the past over his shoulder, facing the countryside they are flying from, that receding palace of strangers on the Italian hill which shall never be rebuilt. ‘And my words which I have put in thy mouth shall not depart out of thy mouth. Nor out of the mouth of thy seed. Nor out of the mouth of thy seed’s seed.’

  The voice of the English patient sang Isaiah into his ear as he had that afternoon when the boy had spoken of the face on the chapel ceiling in Rome. ‘There are of course a hundred Isaiahs. Someday you will want to see him as an old man – in southern France the abbeys celebrate him as bearded and old, but the power is still there in his look.’ The Englishman had sung out into the painted room. ‘Behold, the Lord will carry thee away with a mighty captivity, and He will surely cover thee. He will surely violently turn and toss thee like a ball into a large country.’

  He was riding deeper into thick rain. Because he had loved the face on the ceiling he had loved the words. As he had believed in the burned man and the meadows of civilisation he tended. Isaiah and Jeremiah and Solomon were in the burned man’s bedside book, his holy book, whatever he had loved glued into his own. He had passed his book to the sapper, and the sapper had said we have a Holy Book too.

  The rubber lining on the goggles had cracked during the past months and the rain now began filling each pocket of air in front of his eyes. He would ride without them, the shush shush a permanent sea in his ears, and his crouched body stiff, cold, so there was only the idea of heat from this machine he rode so intimately, the white spray of it as he slid through villages like a slipping star, a half-second of visitation when one could make a wish. ‘For the heavens shall vanish away like smoke and the earth shall wax old like a garment. And they that dwell therein shall die in like manner. For the moth shall eat them up like a garment, and the worms shall eat them like wool.’ A secret of deserts from Uweinat to Hiroshima.

  He was removing the goggles as he came out of the curve and onto the bridge over the Ofanto River. And with his left arm up holding the goggles free he began to skid. He dropped them and calmed the bike but was not prepared for the iron bounce onto the lip of the bridge, the bike lying down to the right underneath him. He was suddenly sliding with it along the skin of rainwater down the centre of the bridge, blue sparks from the scratching metal around his arms and face.

  Heavy tin flew off and shouldered past him. Then he and the bike veered to the left, there was no side to the bridge, and they hurtled out parallel to the water, he and the bike sideways, his arms flung back above his head. The cape released itself away from him, from whatever was machine and mortal, part of the element of air.

  The motorbike and the soldier stilled in midair, then pivoted down into the water, the metal body between his legs as they slammed into it, jarring a white path through it, disappearing, the rain too entering the river. ‘He will toss thee like a ball into a large country.’

  How did Patrick end up in a dove-cot, Clara? His unit had left him, burned and wounded. So burned the buttons of his shirt were part of his skin, part of his dear chest. That I kissed and you kissed. And how was my father burned? He who could swerve like an eel, or like your canoe, as if charmed, from the real world. In his sweet and complicated innocence. He was the most unverbal of men, and I am always surprised women liked him. We tend to like a verbal man around us. We are the rationalists, the wise, and he was often lost, uncertain, unspoken.

  He was a burned man and I was a nurse and I could have nursed him. Do you understand the sadness of geography? I could have saved him or at least been with him till the end. I know a lot about burning. How long was he alone with doves and rats? With the last stages of blood and life in him? Doves over him. The flutter when they thrashed around him. Unable to sleep in the darkness. He always hated darkness. And he was alone, without lover or kin.

  I am sick of Europe, Clar
a. I want to come home. To your small cabin and pink rock in Georgian Bay. I will take a bus up to Parry Sound. And from the mainland send a message over the shortwave radio out towards the Pancakes. And wait for you, wait to see the silhouette of you in a canoe coming to rescue me from this place we all entered, betraying you. How did you become so smart? How did you become so determined? How were you not fooled like us? You that demon for pleasure who became so wise. The purest among us, the darkest bean, the greenest leaf.

  Hana

  The sapper’s bare head comes out of the water, and he gasps in all the air above the river.

  Caravaggio has made a one-strand bridge with hemp rope down to the roof of the next villa. The rope is tightened at this end round the waist of the statue of Demetrius and then secured to the well. The rope barely higher than the tops of the two olive trees along his path. If he loses his balance he will fall into the rough dusty arms of the olive.

  He steps onto it, his socked feet gripping the hemp. How valuable is that statue? he once asked Hana casually, and she told him the English patient had said all statues of Demetrius were worthless.

  She seals the letter and stands up, moves across the room to close the window, and at that moment lightning slips through the valley. She sees Caravaggio in midair halfway across the gorge that lies like a deep scar alongside the villa. She stands there as if in one of her dreams, then climbs into the window alcove and sits there looking out.

  Every time there is lightning, rain freezes in the suddenly lit night. She sees the buzzard hawks flung up into the sky, looks for Caravaggio.

  He is halfway across when he smells the rain, and then it begins to fall all over his body, clinging to him, and suddenly there is the greater weight of his clothes.

  She puts her cupped palms out of the window and combs the rain into her hair.

  The villa drifts in darkness. In the hallway by the English patient’s bedroom the last candle burns, still alive in the night. Whenever he opens his eyes out of sleep, he sees the old wavering yellow light.

  For him now the world is without sound, and even light seems an unneeded thing. He will tell the girl in the morning he wants no candle flame to accompany him while he sleeps.

  Around three a.m. he feels a presence in the room. He sees, for a pulse of a moment, a figure at the foot of his bed, against the wall or painted onto it perhaps, not quite discernible in the darkness of foliage beyond the candlelight. He mutters something, something he had wanted to say, but there is silence and the slight brown figure, which could be just a night shadow, does not move. A poplar. A man with plumes. A swimming figure. And he would not be so lucky, he thinks, to speak to the young sapper again.

  He stays awake in any case this night, to see if the figure moves towards him. Ignoring the tablet that brings painlessness, he will remain awake till the light dies out and the smell of candle smoke drifts into his room and into the girl’s room farther down the hall. If the figure turns around there will be paint on his back, where he slammed in grief against the mural of trees. When the candle dies out he will be able to see this.

  His hand reaches out slowly and touches his book and returns to his dark chest. Nothing else moves in the room.

  Now where does he sit as he thinks of her? These years later. A stone of history skipping over the water, bouncing up so she and he have aged before it touches the surface again and sinks.

  Where does he sit in his garden thinking once again he should go inside and write a letter or go one day down to the telephone depot, fill out a form and try to contact her in another country. It is this garden, this square patch of dry cut grass that triggers him back to the months he spent with Hana and Caravaggio and the English patient north of Florence in the Villa San Girolamo. He is a doctor, has two children and a laughing wife. He is permanently busy in this city. At six p.m. he removes his white lab coat. Underneath he wears dark trousers and a short-sleeved shirt. He closes up the clinic, where all the paperwork has weights of various kinds – stones, inkpots, a toy truck his son no longer plays with – to keep it from being blown away by the fan. He climbs onto his bicycle and pedals the four miles home, through the bazaar. Whenever he can he swerves his bicycle over to the shadowed part of the street. He has reached an age when he suddenly realizes that the sun of India exhausts him.

  He glides under the willows by the canal and then stops at a small neighbourhood of houses, removes his cycle clips and carries the bicycle down the steps into the small garden his wife has nurtured.

  And something this evening has brought the stone out of the water and allowed it to move back within the air towards the hill town in Italy. It was perhaps the chemical burn on the arm of the girl he treated today. Or the stone stairway, where brown weeds grow ardently along the steps. He had been carrying his bicycle and was halfway up the steps before he remembered. This had been on the way to work, so the trigger of memory was postponed when he got to the hospital and ran into seven hours of constant patients and administration. Or it might have been the burn on the young girl’s arm.

  He sits in the garden. And he watches Hana, her hair longer, in her own country. And what does she do? He sees her always, her face and body, but he doesn’t know what her profession is or what her circumstances are, although he sees her reactions to people around her, her bending down to children, a white fridge door behind her, a background of noiseless tram cars. This is a limited gift he has somehow been given, as if a camera’s film reveals her, but only her, in silence. He cannot discern the company she moves among, her judgement; all he can witness is her character and the lengthening of her dark hair, which falls again and then again into her eyes.

  She will, he realizes now, always have a serious face. She has moved from being a young woman into having the angular look of a queen, someone who has made her face with her desire to be a certain kind of person. He still likes that about her. Her smartness, the fact that she did not inherit that look or that beauty, but that it was something searched for and that it will always reflect a present stage of her character. It seems every month or two he witnesses her this way, as if these moments of revelation are a continuation of the letters she wrote to him for a year, getting no reply, until she stopped sending them, turned away by his silence. His character, he supposed.

  Now there are these urges to talk with her during a meal and return to that stage they were most intimate at in the tent or in the English patient’s room, both of which contained the turbulent river of space between them. Recalling the time, he is just as fascinated at himself there as he is with her – boyish and earnest, his lithe arm moving across the air towards the girl he has fallen in love with. His wet boots are by the Italian door, the laces tied together, his arm reaches for her shoulder, there is the prone figure on the bed.

  During the evening meal he watches his daughter struggling with her cutlery, trying to hold the large weapons in her small hands. At this table all of their hands are brown. They move with ease in their customs and habits. And his wife has taught them all a wild humour, which has been inherited by his son. He loves to see his son’s wit in this house, how it surprises him constantly, going beyond even his and his wife’s knowledge and humour – the way he treats dogs on the streets, imitating their stroll, their look. He loves the fact that this boy can almost guess the wishes of dogs from the variety of expressions at a dog’s disposal.

  And Hana moves possibly in the company that is not her choice. She, at even this age, thirty-four, has not found her own company, the ones she wanted. She is a woman of honour and smartness whose wild love leaves out luck, always taking risks, and there is something in her brow now that only she can recognize in a mirror. Ideal and idealistic in that shiny dark hair! People fall in love with her. She still remembers the lines of poems the Englishman read out loud to her from his commonplace book. She is a woman I don’t know well enough to hold in my wing, if writers have wings, to harbour for the rest of my life.

  And so Hana moves and her face tu
rns and in a regret she lowers her hair. Her shoulder touches the edge of a cupboard and a glass dislodges. Kirpal’s left hand swoops down and catches the dropped fork an inch from the floor and gently passes it into the fingers of his daughter, a wrinkle at the edge of his eyes behind his spectacles.

  Acknowledgements

  While some of the characters who appear in this book are based on historical figures, and while many of the areas described – such as the Gilf Kebir and its surrounding desert – exist, and were explored in the 1930s, it is important to stress that this story is a fiction and that the portraits of the characters who appear in it are fictional, as are some of the events and journeys.

  I would like to thank the Royal Geographical Society, London, for allowing me to read archival material and to glean from their Geographical Journals the world of explorers and their journeys – often beautifully recorded by their writers. I have quoted a passage from Hassanein Bey’s article ‘Through Kufra to Darfur’ (1924), describing sandstorms, and I have drawn from him and other explorers to evoke the desert of the 1930s. I would like to acknowledge information drawn from Dr. Richard A. Bermann’s ‘Historical Problems of the Libyan Desert’ (1934) and R. A. Bagnold’s review of Almásy’s monograph on his explorations in the desert.

  Many books were important to me in my research. Unexploded Bomb by Major A. B. Hartley was especially useful in re-creating the construction of bombs and in describing the British bomb disposal units at the start of World War II. I have quoted directly from his book (the italicized lines in the ‘In Situ’ section) and have based some of Kirpal Singh’s methods of defusing on actual techniques that Hartley records. Information found in the patient’s notebook on the nature of certain winds is drawn from Lyall Watson’s wonderful book Heaven’s Breath, direct quotes appearing in quotation marks. The section from the Candaules–Gyges story in Herodotus’s Histories is from the 1890 translation by G. C. McCauley (Macmillan). Other quotations from Herodotus use the David Grene translation (University of Chicago Press). The line in italics on page 22 is by Christopher Smart; the lines in italics on page 153 are from John Milton’s Paradise Lost; the line Hana remembers on page 306 is by Anne Wilkinson. I would also like to acknowledge Alan Moorehead’s The Villa Diana, which discusses the life of Poliziano in Tuscany. Other important books were Mary McCarthy’s The Stones of Florence; Leonard Mosley’s The Cat and the Mice; G. W. L. Nicholson’s The Canadians in Italy 1943–5 and Canada’s Nursing Sisters; The Marshall Cavendish Encyclopaedia of World War II; F. Yeats-Brown’s Martial India; and three other books on the Indian military: The Tiger Strikes and The Tiger Kills, published in 1942 by the Directorate of Public Relations, New Delhi, India, and A Roll of Honor.