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Overview
Written with a profound voice that is practically dripping with poetic force, The English Patient is the story of a British soldier living in Canada after WWII, seemingly unaware of who he is. It’s a treatise against war, highlighting the rippling fractures that come from it, and delivering a quiet and moving narrative with a human heart.
Product Details
| ISBN-13: | 9781841593395 |
|---|---|
| Publisher: | Tuttle Publishing |
| Publication date: | 09/28/2011 |
| Product dimensions: | 6.50(w) x 1.50(h) x 9.50(d) |
About the Author
Michael Ondaatje is the author of several award-winning novels, as well as a memoir, a nonfiction book on film, and several books of poetry. Among other accolades, his novel The English Patient won the Booker Prize, and Anil's Ghost won the Irish Times International Fiction Prize, the Giller prize, and the Prix Médicis. Born in Sri Lanka, Michael Ondaatje lives in Toronto, Canada.
Read an Excerpt
She stands up in the garden where she has been working and looks into the distance. She has sensed a shift in the weather. There is another gust of wind, a buckle of noise in the air, and the tall cypresses sway. She turns and moves uphill toward the house, climbing over a low wall, feeling the first drops of rain on her bare arms. She crosses the loggia and quickly enters the house.In the kitchen she doesn't pause but goes through it and climbs the stairs which are in darkness and then continues along the long hall, at the end of which is a wedge of light from an open door.She turns into the room which is another garden--this one made up of trees and bowers painted over its walls and ceiling. The man lies on the bed, his body exposed to the breeze, and he turns his head slowly towards her as she enters.Every four days she washes his black body, beginning at the destroyed feet. She wets a washcloth and holding it above his ankles squeezes the water onto him, looking up as he murmurs, seeing his smile. Above the shins the burns are worst. Beyond purple. Bone.She has nursed him for months and she knows the body well, the penis sleeping like a sea horse, the thin tight hips. Hipbones of Christ, she thinks. He is her despairing saint. He lies flat on his back, no pillow, looking up at the foliage painted onto the ceiling, its canopy of branches, and above that, blue sky.She pours calamine in stripes across his chest where he is less burned, where she can touch him. She loves the hollow below the lowest rib, its cliff of skin. Reaching his shoulders she blows cool air onto his neck, and he mutters.What? she asks, coming out of her concentration.He turns his dark face with itsgray eyes towards her. She puts her hand into her pocket. She unskins the plum with her teeth, withdraws the stone and passes the flesh of the fruit into his mouth.He whispers again, dragging the listening heart of the young nurse beside him to wherever his mind is, into that well of memory he kept plunging into during those months before he died.
What People are Saying About This
In his masterful novel, Michael Ondaatje weaves a beautiful and light-handed prose through the mingled history of the people caught up in love and war. A rich and compelling work of fiction.
Profound, beautiful, and heart-quickening.
Reading Group Guide
1. The English patient "whispers again, dragging the listening heart of the young nurse beside him to wherever his mind is, into that well of memory he kept plunging into during those months before he died" [p. 4]. Why does the patient consider himself to have "died"? Does he undergo any kind of rebirth during the course of the story?
2. What can you deduce from the novel about Hana's relationship with her father? Has her father's death, and the manner of it, caused her to retreat from the war and devote herself to the English patient? What influence do her feelings for her father have upon her relationship with Caravaggio?
3. Why did Hana decide to have an abortion during the war? How has that decision affected her, and how much influence has it had on her life at the villa?
4. How does the landscape of the novel--the Villa San Girolamo, the country around it, and the boundary between the two--reflect the inner lives of its inhabitants? Why do you think that Ondaatje has chosen Tuscany as the setting for his story? What significance do other landscapes, like the desert and the English countryside, hold for the story and its characters?
5. The English patient says, "I believe in such cartography--to be marked by nature, not just to label ourselves on a map like the names of rich men and women on buildings. We are communal histories, communal books" [p. 261]. How does Ondaatje use maps and cartography as a metaphor for people and history? What does geography mean to the English patient and to Ondaatje's other characters?
6. Why has Ondaatje made Caravaggio a thief by profession? What is it in his character that makes such an occupation appropriate? "Allhis life he has avoided permanent intimacy" [p. 116]. Does Caravaggio change during the course of the novel? Does he ever come to accept intimacy, and if so, what type of intimacy and intimacy with whom?
7. The imagery at the beginning of the novel likens the patient to Christ. Later, Caravaggio says to Hana, "You don't love him, you adore him, " to which she answers, "He is a saint" [p. 45]. Who else is likened to a saint, and why? Where else in the novel can you find religious imagery, and what is its purpose? The night before the Hiroshima explosion Kip sleeps in a church. What is the subject of the painting he sees there, and what is its thematic relation to the imminent atomic explosion?
8. "I came to hate nations, " says the English patient. "We are deformed by nation-states" [p. 138]. How does the desert negate the idea of nations? What sort of supra-national unity is experienced by the Europeans drawn to the desert, and how does each of them respond to the beginning of war? What alternate view of geography and history does the desert offer?
9. After Hiroshima, Caravaggio finds himself agreeing with Kip that "they would never have dropped such a bomb on a white nation" [p. 286]. How does the subject of race and racism enter into this novel? What conclusions, if any, are drawn at the end?
10. Why do you think that Hana removes all the mirrors in the house and puts them in an empty room? Is her own physical presence disturbing to her, or simply irrelevant?
11. What does this novel tell us about the British Empire at the moment it was beginning to dissolve? What are its moral strengths and its fatal weaknesses, as presented by the novel and its characters? What aspect of the Empire do Kip and Lord Suffolk represent, and what does Lord Suffolk's death symbolize? Was Kip completely misguided in attaching himself to the British? Is his revulsion from them at the end a reasonable response, or is it too violent?
12. "I think when I see him at the foot of my bed that Kip is my David" [p. 116], says the English patient. How can you describe the connection the patient feels between himself and Kip? Is it emotional, political, or dependent upon some other tie? In what way do the two men reflect one another?
13. "Madox was a man who died because of nations" [p. 242], says the English patient. What is it about Madox that makes him experience disillusionment as hopelessness, and commit suicide, while Kip is able to create new life out of similar disillusionment?
14. Why does Katherine treat her lover with physical violence? What does it say about the relationship between the two, and about Almasy's own character? What does the manner of Katherine's death tell us? Does it seem to you that Almasy links sex with death and pain? Can you find other places in the novel where sex and death are explicitly connected?
15. What needs and motivations originally drew Hana and Kip together? Might their relationship have been a lasting one, had it not been for the Hiroshima bombing? Why do they not keep in touch in later life, though they continue to think so often of one another?
16. Why do you think that Hana, unlike Kip, has finally "not found her own company, the ones she wanted" [p. 301]? Can Hana be seen as a "victim" of the war, or have her experiences in Italy simply made her more clearsighted and realistic? How do her two renditions of "La Marseillaise" indicate the change that the war has wrought in her?
17. Can the novel can be seen as a mystery, with the identity of the English patient at its heart? Does Caravaggio's identification of the patient solve the mystery, or does there remain a question at the end? How do other characters in The English Patient, such as Hana, Kip, and Katherine, discover or come to terms with their own identities?
18. How would you describe Ondaatje's style: does the story resemble a film perhaps, or a dream? Why has he chosen this mode in which to write this particular tale? What is his purpose in making the action move backward and forward in time?
19. The English Patient refers explicitly to Rudyard Kipling's Kim. If you know this novel, how does its presence within the text contribute to Ondaatje's theme? In what way, if any, do the characters in The English Patient correspond to those in Kim? Is it significant that Kip was born in Lahore?