The English Patient - Michael Ondaatje [103]
What is it? Jesus, tell us!
I’ll leave you the radio to swallow your history lesson. Don’t move again, Caravaggio. All those speeches of civilisation from kings and queens and presidents … such voices of abstract order. Smell it. Listen to the radio and smell the celebration in it. In my country, when a father breaks justice in two, you kill the father.
You don’t know who this man is.
The rifle sight unwavering at the burned neck. Then the sapper swerves it up towards the man’s eyes.
Do it, Almásy says.
The eyes of the sapper and the patient meet in this half-dark room crowded now with the world.
He nods to the sapper.
Do it, he says quietly.
Kip ejects the cartridge and catches it as it begins to fall. He throws the rifle onto the bed, a snake, its venom collected. He sees Hana on the periphery.
The burned man untugs the earphones off his head and slowly places them down in front of him. Then his left hand reaches up and pulls away the hearing aid, and drops it to the floor.
Do it, Kip. I don’t want to hear any more.
He closes his eyes. Slips into darkness, away from the room.
The sapper leans against the wall, his hands folded, head down. Caravaggio can hear air being breathed in and out of his nostrils, fast and hard, a piston.
He isn’t an Englishman.
American, French, I don’t care. When you start bombing the brown races of the world, you’re an Englishman. You had King Leopold of Belgium and now you have fucking Harry Truman of the USA. You all learned it from the English.
No. Not him. Mistake. Of all people he is probably on your side.
He would say that doesn’t matter, Hana says.
Caravaggio sits down in the chair. He is always, he thinks, sitting in this chair. In the room there is the thin squawking from the crystal set, the radio still speaking in its underwater voice. He cannot bear to turn and look at the sapper or look towards the blur of Hana’s frock. He knows the young soldier is right. They would never have dropped such a bomb on a white nation.
The sapper walks out of the room, leaving Caravaggio and Hana by the bed. He has left the three of them to their world, is no longer their sentinel. In the future, if and when the patient dies, Caravaggio and the girl will bury him. Let the dead bury the dead. He has never been sure what that meant. Those few callous words in the Bible.
They will bury everything except the book. The body, the sheets, his clothes, the rifle. Soon he will be alone with Hana. And the motive for all this on the radio. A terrible event emerging out of the shortwave. A new war. The death of a civilisation.
Still night. He can hear nighthawks, their faint cries, the muted thud of wings as they turn. The cypress trees rise over his tent, still on this windless night. He lies back and stares into the dark corner of the tent. When he closes his eyes he sees fire, people leaping into rivers into reservoirs to avoid flame or heat that within seconds burns everything, whatever they hold, their own skin and hair, even the water they leap into. The brilliant bomb carried over the sea in a plane, passing the moon in the east, towards the green archipelago. And released.
He has not eaten food or drunk water, is unable to swallow anything. Before light failed he stripped the tent of all military objects, all bomb disposal equipment, stripped all insignia off his uniform. Before lying down he undid the turban and combed his hair out and then tied it up into a topknot and lay back, saw the light on the skin of the tent slowly disperse, his eyes holding onto the last blue of light, hearing the drop of wind into windlessness and then hearing the swerve of the hawks as their wings thudded. And all the delicate noises of the air.
He feels all the winds of the world have been sucked into Asia. He steps away from the many small bombs of his career