2,491: The Cat's Table by Michael Ondaatje

Michael, the 11 year old narrator of The Cat’s Table, is leaving 1950s Ceylon (the colonial name for Sri Lanka) to be reunited with his mother, an earlier migrant to the UK, and to start senior school in England.  Boarding the Oronsay, the liner that will take him up through the Suez Canal and across the Mediterranean, he finds himself installed for mealtimes at the cat’s table, ship parlance for the least favoured table and the furthest from the captain’s table.  Also seated there are two other boys, the rebel Cassius and the physically frail, Ramadhin, with whom Michael will form a tight knit gang, exploring the ship and treating it as their own private kingdom.

The ship’s other passengers make up a colourful and varied bunch, each with their own stories, which Ondaatje tells us largely through the medium of the boys’ observations.  The Cat’s Table also cuts back and forth from the ship’s journey to the adult life of Michael in London, in which he clears up some of the loose ends of the episodes that take place on board and shows how their experiences on the Oronsay continue to affect the lives of the three boys long afterwards.

My only previous experience of Michael Ondaatje was The English Patient and, although I largely enjoyed it and found the writing to be wonderful, I found the ending a little unlikely and was slightly put off by his take on racism and imperialism.  It may be because The Cat’s Table doesn’t really seek to address issues like this (although there are, inevitably some references) or it may be simply that it is a book that appealed to me more, but I thought it was simply wonderful and a compelling read.

At one level, The Cat’s Table is a fantastic picaresque novel, almost a collection of tales about the characters that inhabit the Oronsay, from the “gentleman” burglar, the Baron, who uses the boys as his accomplices by oiling them up and sending them through narrow window gaps to open the doors of passenger rooms, to the tycoon, Sir Hector da Silva, who lies in his cabin, on his way to London to seek a cure for his mysterious illness.  There is Mr Daniels, who keeps a secret garden of poisonous plants hidden away in the ship’s bowels and the elusive Max Mazappa, jazz pianist and purveyor of wise advice.  Using the closed society of a ship at sea, Ondaatje creates a profusion of fascinating characters whose stories increasingly interlock as the novel progresses and they form alliances or reveal relationships.

At the same time, the episodes told by the adult Michael reveal just how much the events on the ship affect not only the boys but also some of the other passengers and counterpoint the innocence and fun of the shipboard episodes with a more mature understanding of the world and a sadness brought on by more experience of life.  This deepens the book and turns it from a story about a journey across the sea into a story that is as much about Michael’s journey from child to adult, from joyous innocent to a wiser but sadder man.

On top of this, we are also given something of a mystery story.  Early on in the novel, the boys, lurking in a lifeboat at night, spy two guards taking a shackled prisoner for a walk on deck.  As the book progresses, the boys speculate on the identity of the prisoner and the reason for his being on the ship.  The pieces of the puzzle are gradually revealed and the links between him and certain of the other passengers, including Michael’s cousin, Emily, are drawn together, culminating in a shocking but uncertain conclusion to the sub-plot. 

Ondaatje himself made a similar journey by ship to the UK from Sri Lanka in the early ‘60s and there is a great temptation to focus on the extent to which The Cat’s Table is autobiographical but, frankly, I’m not sure that this kind of focus has any great point and actually detracts from the overall experience of the book.

This is a book that explores loss, growth, the impact of journeys both physical and emotional and the effect of childhood events and experiences on the adult psyche.  It’s also warm, funny, fascinating and a highly enjoyable read.  Quite simply, I loved it.  I don’t rate books but, if I did, this would be a five star effort from an author with whom I am not always in sympathy.

2,548: 1,001 Book Challenge - The English Patient by Michael Ondaatje

This is exactly the reason I decided to take up the 1,001 Books challenge.  I would almost certainly never have picked up The English Patient otherwise and even if I had, I would probably have cast it aside after the first few pages, which would have been a grave error.

The English Patient is set in the Villa San Girolamo, a war-damaged villa in Italy.  Here, a Canadian nurse is ministering to a mysterious English pilot, who has been severely burnt in a plane crash in North Africa.  Into their solitary lives come Caravaggio, a Canadian thief and spy, who was a close friend of Hana’s father, and Kip, a Sikh Indian sapper, who is responsible for clearing the area of mines.

Ondaatje lets the story unfold slowly, giving us glimpses into the histories and personalities of his characters in an impressionistic style, allowing our knowledge of them to grow slowly until we understand everything, which only really happens at the very end.  The English patient in particular tells his stories through a mix of dreams and snippets of memories, something that Ondaatje’s prose reflects wonderfully.

Each of the main characters is damaged, either physically or emotionally and, for the majority of the book, they give each other love and care that appears to help them until the outside world intrudes and causes the break-up of their household.

Two love affairs provide the structure around which the book is woven.  The first is the doomed love affair of the English patient and the wife of one of his friends in pre-war Cairo.  This is an impassioned, sensual affair which ends in tragedy.  The second is the love that grows between Hana, emotionally withdrawn from the loss of her father, lover and unborn child, and Kip, who is deeply conflicted by his willingness to fight for Britain and his love for his brother, arrested for anti-Imperial activities.  Their affair is more tender and reserved but still destined for failure.

Another theme is that of identity and deception.  The English patient, although able to describe his history and adventures in the desert in detail, is unable to shed any light on his identity until it is revealed by Caravaggio.  Even then, his recollections shift perspective so one can never be absolutely certain of who he is.  Embedded in the gradual revelation of his story are the various deceptions that surround him – personal deceptions like the one he and his lover practice on her husband and professional deceptions practised by the husband and Caravaggio.

Despite the skilful way in which Ondaatje slowly reveals more and more of his characters’ lives and experiences to bring the overall story together, I did find the climax a little jarring and clumsy.  Kip’s near-hysterical reaction to the news of the American bombing of Hiroshima and Nagasaki and his blaming of England for it (and, indeed, everything done by all other European and North American countries) is both bizarre and implausible, given Kip's previous views, behaviour and relationships.  Without trying to deny the calumnies perpetuated by Great Britain in the name of Empire, I really don't feel we can be held responsible for everyone's actions.  It’s at this point that the novel becomes unbalanced with Kip becoming both the dominant character and also the hero, with some laboured metaphors for the passing of the torch of civilization from the old, predominantly-white world to the new, Asian world.

Despite my reservations about the ending that, I’m afraid, did affect my enjoyment of the book, The English Patient is, undoubtedly, a fantastic piece of writing. Indeed, if I were to play the game of trying to predict which modern novels will be considered classics in another hundred years, I strongly suspect that this will be a contender for inclusion in a new literary pantheon.  I can’t say that I loved it but I’m definitely glad I read it.