Michael Ondaatje - The English Patient

A pair of tennis shoes and a hammock. What she had taken from others in this war. She would wake under the slide of moonlight on the ceiling, wrapped in an old shirt she always slept in, her dress hanging on a nail by the door. There was more heat now, and she could sleep this way. Before, when it had been cold, they had had to burn things.

Her hammock and her shoes and her frock. She was secure in the miniature world she had built; the two other men seemed distant planets, each in his own sphere of memory and solitude. Caravaggio, who had been her father’s gregarious friend in Canada, in those days was capable of standing still and causing havoc within the caravan of women he seemed to give himself over to. He now lay in his darkness. He had been a thief who refused to work with men, because he did not trust them, who talked with men but who preferred talking to women and when he began talking to women was soon caught in the nets of relationship. When she would sneak home in the early hours of the morning she would find him asleep on her father’s armchair, exhausted from professional or personal robberies.

She thought about Caravaggio—some people you just had to embrace, in some way or another, had to bite into the muscle, to remain sane in their company. You needed to grab their hair and clutch it like a drowner so they would pull you into their midst. Otherwise they, walking casually down the street towards you, almost about to wave, would leap over a wall and be gone for months. As an uncle he had been a disappearer.

Caravaggio would disturb you by simply enfolding you in his arms, his wings. With him you were embraced by character. But now he lay in darkness, like her, in some outpost of the large house. So there was Caravaggio. And there was the desert Englishman.

Throughout the war, with all of her worst patients, she survived by keeping a coldness hidden in her role as nurse. I will survive this. I won’t fall apart at this. These were buried sentences all through her war, all through the towns they crept towards and through, Urbino, Anghiari, Monterchi, until they entered Florence and then went farther and finally reached the other sea near Pisa.

In the Pisa hospital she had seen the English patient for the first time. A man with no face. An ebony pool. All identification consumed in a fire. Parts of his burned body and face had been sprayed with tannic acid, that hardened into a protective shell over his raw skin. The area around his eyes was coated with a thick layer of gentian violet. There was nothing to recognize in him.

Sometimes she collects several blankets and lies under them, enjoying them more for their weight than for the warmth they bring. And when moonlight slides onto the ceiling it wakes her, and she lies in the hammock, her mind skating. She finds rest as opposed to sleep the truly pleasurable state. If she were a writer she would collect her pencils and notebooks and favourite cat and write in bed. Strangers and lovers would never get past the locked door.

To rest was to receive all aspects of the world without judgement. A bath in the sea, a fuck with a soldier who never knew your name. Tenderness towards the unknown and anonymous, which was a tenderness to the self.

Her legs move under the burden of military blankets. She swims in their wool as the English patient moved in his cloth placenta.

What she misses here is slow twilight, the sound of familiar trees. All through her youth in Toronto she learned to read the summer night. It was where she could be herself, lying in a bed, stepping onto a fire escape half asleep with a cat in her arms.

In her childhood her classroom had been Caravaggio. He had taught her the somersault. Now, with his hands always in his pockets, he just gestures with his shoulders. Who knew what country the war had made him live in. She herself had been trained at Women’s College Hospital and then sent overseas during the Sicilian invasion. That was in 1943. The First Canadian Infantry Division worked its way up Italy, and the destroyed bodies were fed back to the field hospitals like mud passed back by tunnellers in the dark. After the battle of Arezzo, when the first barrage of troops recoiled, she was surrounded day and night by their wounds. After three full days without rest, she finally lay down on the floor beside a mattress where someone lay dead, and slept for twelve hours, closing her eyes against the world around her.

When she woke, she picked up a pair of scissors out of the porcelain bowl, leaned over and began to cut her hair, not concerned with shape or length, just cutting it away—the irritation of its presence during the previous days still in her mind—when she had bent forward and her hair had touched blood in a wound. She would have nothing to link her, to lock her, to death. She gripped what was left to make sure there were no more strands and turned again to face the rooms full of the wounded.

She never looked at herself in mirrors again. As the war got darker she received reports about how certain people she had known had died. She feared the day she would remove blood from a patient’s face and discover her father or someone who had served her food across a counter on Danforth Avenue. She grew harsh with herself and the patients. Reason was the only thing that might save them, and there was no reason. The thermometer of blood moved up the country. Where was and what was Toronto anymore in her mind? This was treacherous opera. People hardened against those around them—soldiers, doctors, nurses, civilians. Hana bent closer to the wounds she cared for, her mouth whispering to soldiers.

She called everyone “Buddy,” and laughed at the song that had the lines

Each time I chanced to see Franklin D .

He always said “Hi, Buddy” to me .

She swabbed arms that kept bleeding. She removed so many pieces of shrapnel she felt she’d transported a ton of metal out of the huge body of the human that she was caring for while the army travelled north. One night when one of the patients died she ignored all rules and took the pair of tennis shoes he had with him in his pack and put them on. They were slightly too big for her but she was comfortable.

Her face became tougher and leaner, the face Caravaggio would meet later. She was thin, mostly from tiredness. She was always hungry and found it a furious exhaustion to feed a patient who couldn’t eat or didn’t want to, watching the bread crumble away, the soup cool, which she desired to swallow fast. She wanted nothing exotic, just bread, meat. One of the towns had a bread-making section attached to the hospital and in her free time she moved among the bakers, inhaling the dust and the promise of food. Later, when they were east of Rome, someone gave her a gift of a Jerusalem artichoke.

It was strange sleeping in the basilicas, or monasteries, or wherever the wounded were billeted, always moving north. She broke the small cardboard flag off the foot of the bed when someone died, so that orderlies would know glancing from a distance. Then she would leave the thick-stoned building and walk outside into spring or winter or summer, seasons that seemed archaic, that sat like old gentlemen throughout the war. She would step outside whatever the weather. She wanted air that smelled of nothing human, wanted moonlight even if it came with a rainstorm.

Hello Buddy, good-bye Buddy. Caring was brief. There was a contract only until death. Nothing in her spirit or past had taught her to be a nurse. But cutting her hair was a contract, and it lasted until they were bivouacked in the Villa San Girolamo north of Florence. Here there were four other nurses, two doctors, one hundred patients. The war in Italy moved farther north and they were what had been left behind.

Then, during the celebrations of some local victory, somewhat plaintive in this hill town, she had said she was not going back to Florence or Rome or any other hospital, her war was over. She would remain with the one burned man they called “the English patient,” who, it was now clear to her, should never be moved because of the fragility of his limbs. She would lay belladonna over his eyes, give him saline baths for the keloided skin and extensive burns. She was told the hospital was unsafe—the nunnery that had been for months a German defence, barraged with shells and flares by the Allies. Nothing would be left for her, there would be no safety from brigands. She still refused to leave, got out of her nurse’s uniform, unbundled the brown print frock she had carried for months, and wore that with her tennis shoes. She stepped away from the war. She had moved back and forth at their desire. Till the nuns reclaimed it she would sit in this villa with the Englishman. There was something about him she wanted to learn, grow into, and hide in, where she could turn away from being an adult. There was some little waltz in the way he spoke to her and the way he thought. She wanted to save him, this nameless, almost faceless man who had been one of the two hundred or so placed in her care during the invasion north.

In her print dress she walked away from the celebration. She went into the room she shared with the other nurses and sat down. Something flickered in her eye as she sat, and she caught the eye of a small round mirror. She got up slowly and went towards it. It was very small but even so seemed a luxury. She had refused to look at herself for more than a year, now and then just her shadow on walls. The mirror revealed only her cheek, she had to move it back to arm’s length, her hand wavering. She watched the little portrait of herself as if within a clasped brooch. She. Through the window there was the sound of the patients being brought out into the sunlight in their chairs, laughing and cheering with the staff. Only those who were seriously ill were still indoors. She smiled at that. Hi Buddy, she said. She peered into her look, trying to recognize herself.

Darkness between Hana and Caravaggio as they walk in the garden. Now he begins to talk in his familiar slow drawl.

“It was someone’s birthday party late at night on Danforth Avenue. The Night Crawler restaurant. Do you remember, Hana? Everyone had to stand and sing a song. Your father, me, Giannetta, friends, and you said you wanted to as well—for the first time. You were still at school then, and you had learned the song in a French class.

“You did it formally, stood on the bench and then one more step up onto the wooden table between the plates and the candles burning.

“ ‘Alonson fon!’

“You sang out, your left hand to your heart. Alonson fon! Half the people there didn’t know what the hell you were singing, and maybe you didn’t know what the exact words meant, but you knew what the song was about.

“The breeze from the window was swaying your skirt over so it almost touched a candle, and your ankles seemed fire-white in the bar. Your father’s eyes looking up at you, miraculous with this new language, the cause pouring out so distinct, flawless, no hesitations, and the candles swerving away, not touching your dress but almost touching. We stood up at the end and you walked off the table into his arms.”

“I would remove those bandages on your hands. I am a nurse, you know.”

“They’re comfortable. Like gloves.”

“How did this happen.”

“I was caught jumping from a woman’s window. That woman I told you about, who took the photograph. Not her fault.”

She grips his arm, kneading the muscle. “Let me do it.” She pulls the bandaged hands out of his coat pockets. She has seen them grey in daylight, but in this light they are almost luminous.

As she loosens the bandages he steps backwards, the white coming out of his arms as if he were a magician, till he is free of them. She walks towards the uncle from childhood, sees his eyes hoping to catch hers to postpone this, so she looks at nothing but his eyes.