The English Patient

Did he move towards his death with the same casual sense of being there at an accident? Or in fury? He was the least furious man she knew, hating argument, just walking out of a room if someone spoke badly of Roosevelt or Tim Buck or praised certain Toronto mayors. He had never attempted to convert anyone in his life, just bandaging or celebrating events that occurred near him. That was all. A novel is a mirror walking down a road. She had read that in one of the books the English patient recommended, and that was the way she remembered her father—whenever she collected the moments of him—stopping his car under one specific bridge in Toronto north of Pottery Road at midnight and telling her that this was where the starlings and pigeons uncomfortably and not too happily shared the rafters during the night. So they had paused there on a summer night and leaned their heads out into the racket of noise and sleepy chirpings.

I was told Patrick died in a dove-cot, Caravaggio said.

Her father loved a city of his own invention, whose streets and walls and borders he and his friends had painted. He never truly stepped out of that world. She realizes everything she knew about the real world she learned on her own or from Caravaggio or, during the time they lived together, from her stepmother, Clara. Clara, who had once been an actress, the articulate one, who had articulated fury when they all left for the war. All through the last year in Italy she has carried the letters from Clara. Letters she knows were written on a pink rock on an island in Georgian Bay, written with the wind coming over the water and curling the paper of her notebook before she finally tore the pages out and put them in an envelope for Hana. She carried them in her suitcase, each containing a flake of pink rock and that wind. But she has never answered them. She has missed Clara with a woe but is unable to write to her, now, after all that has happened to her. She cannot bear to talk of or even acknowledge the death of Patrick.

And now, on this continent, the war having travelled elsewhere, the nunneries and churches that were turned briefly into hospitals are solitary, cut off in the hills of Tuscany and Umbria. They hold the remnants of war societies, small moraines left by a vast glacier. All around them now is the holy forest.

She tucks her feet under her thin frock and rests her arms along her thighs. Everything is still. She hears the familiar hollow churn, restless in the pipe that is buried in the central column of the fountain. Then silence. Then suddenly there is a crash as the water arrives bursting around her.

The tales Hana had read to the English patient, travelling with the old wanderer in Kim or with Fabrizio in The Charterhouse of Parma, had intoxicated them in a swirl of armies and horses and wagons—those running away from or running towards a war. Stacked in one corner of his bedroom were other books she had read to him whose landscapes they have already walked through.

Many books open with an author’s assurance of order. One slipped into their waters with a silent paddle.

I begin my work at the time when Servius Galba was Consul … The histories of Tiberius, Caligula, Claudius and Nero, while they were a power, were falsified through terror and after their death were written under afresh hatred.

So Tacitus began his Annals.

But novels commenced with hesitation or chaos. Readers were never fully in balance. A door a lock a weir opened and they rushed through, one hand holding a gunnel, the other a hat.

When she begins a book she enters through stilted doorways into large courtyards. Parma and Paris and India spread their carpets.

He sat, in defiance of municipal orders, astride the gun Zam-Zammah on her brick platform opposite the old Ajaib-Gher—the Wonder House, as the natives called the Lahore Museum. Who hold Zam-Zammah, that “fire-breathing dragon,” hold the Punjab; for the great green-bronze piece is always first of the conqueror’s loot.