The English Patient - Michael Ondaatje [108]
Around three a.m. he feels a presence in the room. He sees, for a pulse of a moment, a figure at the foot of his bed, against the wall or painted onto it perhaps, not quite discernible in the darkness of foliage beyond the candlelight. He mutters something, something he had wanted to say, but there is silence and the slight brown figure, which could be just a night shadow, does not move. A poplar. A man with plumes. A swimming figure. And he would not be so lucky, he thinks, to speak to the young sapper again.
He stays awake in any case this night, to see if the figure moves towards him. Ignoring the tablet that brings painlessness, he will remain awake till the light dies out and the smell of candle smoke drifts into his room and into the girl’s room farther down the hall. If the figure turns around there will be paint on his back, where he slammed in grief against the mural of trees. When the candle dies out he will be able to see this.
His hand reaches out slowly and touches his book and returns to his dark chest. Nothing else moves in the room.
Now where does he sit as he thinks of her? These years later. A stone of history skipping over the water, bouncing up so she and he have aged before it touches the surface again and sinks.
Where does he sit in his garden thinking once again he should go inside and write a letter or go one day down to the telephone depot, fill out a form and try to contact her in another country. It is this garden, this square patch of dry cut grass that triggers him back to the months he spent with Hana and Caravaggio and the English patient north of Florence in the Villa San Girolamo. He is a doctor, has two children and a laughing wife. He is permanently busy in this city. At six p.m. he removes his white lab coat. Underneath he wears dark trousers and a short-sleeved shirt. He closes up the clinic, where all the paperwork has weights of various kinds – stones, inkpots, a toy truck his son no longer plays with – to keep it from being blown away by the fan. He climbs onto his bicycle and pedals the four miles home, through the bazaar. Whenever he can he swerves his bicycle over to the shadowed part of the street. He has reached an age when he suddenly realizes that the sun of India exhausts him.
He glides under the willows by the canal and then stops at a small neighbourhood of houses, removes his cycle clips and carries the bicycle down the steps into the small garden his wife has nurtured.
And something this evening has brought the stone out of the water and allowed it to move back within the air towards the hill town in Italy. It was perhaps the chemical burn on the arm of the girl he treated today. Or the stone stairway, where brown weeds grow ardently along the steps. He had been carrying his bicycle and was halfway up the steps before he remembered. This had been on the way to work, so the trigger of memory was postponed when he got to the hospital and ran into seven hours of constant patients and administration. Or it might have been the burn on the young girl’s arm.
He sits in the garden. And he watches Hana, her hair longer, in her own country. And what does she do? He sees her always, her face and body, but he doesn’t know what her profession is or what her circumstances are, although he sees her reactions to people around her, her bending down to children, a white fridge door behind her, a background of noiseless tram cars. This is a limited gift he has somehow been given, as if a camera’s film reveals her, but only her, in silence. He cannot discern the company she moves among, her judgement; all he can witness is her character and the lengthening of her dark hair, which falls again and then again into her eyes.
She will, he realizes now, always have a serious face. She has moved from being a young woman into having the angular look of a queen, someone who has made her face with her desire to be a certain kind of person. He still likes that about her. Her smartness, the fact that she did not