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For The Critic

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For The Critic

Well, a decade on, that situation’s only got worse. Karunatilaka and I are now related. Wife’s cousin’s cousins… we are fairly confident.

Betweentimes, Chinaman has gone from strength to strength. It won a raft of prizes (Gratiaen, Commonwealth, DSC South Asia), has been or is being translated into several languages (including Sinhala), and last year a Wisden panel voted it – a quite absurd achievement, this – the greatest novel and second-greatest cricket book of any kind of all time. The umpteenth printing is now out, via Penguin India, in a new ’10^th Anniversary’ special edition: hardly standard practice for even the most successful novels.

Nor has Karunatilaka been resting on his laurels. All jokes aside about the difficult second album/novel (he’d be quite happy with either, I suspect), he has already published one children’s book (Please Don’t Put That in Your Mouth) and written the follow-up; there is open talk of a short-story collection; and there is the somewhat unexpected matter of a forthcoming cookery book – a co-project with his wife.

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Chats with the Dead is the story of Maali Almeida, a 34-year-old photographer who ‘s good at ‘winning at blackjack, seducing young peasants, and photographing scary places.’ Or rather was – because he’s dead now.

It’s Sri Lanka, 1989, and Maali had been in bed, photographically-speaking, with a lot of the conflicting parties, not to mention their agendas. The JVP, the government, the BBC, a Tamil-rights group; he has been to the frontlines for all of them. To say he was ‘promiscuous’ would strike, well… exactly the right tone. And in a box he keeps of his disturbing/unpublishable outtakes, he even has a photo of his killer – ‘the chances of liberating [which] are as likely as Lanka winning a World Cup.’ He just can’t remember who it was yet: whereby, our detective story. ‘It is funny and unfunny what your brain chooses to retain.’

He had also been in bed, non-photographically-speaking, with, among others, his girlfriend Jaki and his boyfriend DD – a love triangle whose sides don’t meet (based loosely on the life of Richard de Zoysa). These two are also cousins, because, y’know, Colombo.

He now finds himself in some aspect of the afterlife – though quite which he is yet to fathom. It is a busy place (as Nietzsche once put it, the living are only a very small subset of the dead), and by and by he crosses paths with a dead lawyer, a dead bodyguard, two dead lovers… some helpful, others vengeful, a few competing for his soul, and most of them frustratedly trying to chat back with the living. So now he has to learn ‘the rules’, as well as solve the mystery of his murder.

It is the Mahavamsa meets The Matrix… in a Sri Lankan government department.

‘When you fantasized about heaven you thought you’d be greeted by Elvis or Oscar Wilde. Not by a dead doctor. Or a deceased Marxist.’ But by page 16 he’s met both, and is now watching his own corpse being incompetently disposed of by paramilitary goons, at Beira Lake. And while he talks thus, retrospectively, to himself (the whole thing’s in the second person), there swirls around him an all-comers spirit realm of fanged ghouls, minor deities, baby-stealers, charms, seances, sorcery, urban legends, prayers, dreams and talking animals, an inventive theological mix of everything from Kuveni’s curse to the Kotahena Crow Man in his urban underpass.

There exists already a Karunatilaka style, and it is here in spades: dive bars, Colombo culture, books, art and (particularly) music, the things that are – and are not – talked about. His taunting games with names and places. A cheeky drop-in from the boys in Chinaman. A page-long parody of Anil’s Ghost? And then the storyteller’s signs deployed by every shifty author from Herodotus to Ondaatje – ‘All stories are recycled, and all stories are unfair’ – the whole lot strung together with the now-familiar mischievous logic, verbal levity and seamy humour that mark him out as the Sri Lankan counterpart to Marlon James.

As with James, this doesn’t always make for pleasant reading (consider Maali’s job); but then his thoughts on all those easier alternatives might well be coded in the line, ‘Monsoons and full moons make all creatures stupid.’

Chats with the Dead is considerably more direct in its satire than was its predecessor. Besides, the stakes are higher. The abject slavery of many lives; the rank iniquities of much religion; the dreadful suicide rate. And as he picks at these scabs of SL’s less-than-savoury history, Maali’s most unflattering (and generally unchallenged) remarks are reserved for the nature of the post-Independence nation: as a corrupted paradise, on its political class, and on its tendencies to violence. ‘Yakas are made, not born,’ someone admonishes. It’s not conciliatory, nor is it all that optimistic. Karunatilaka – I mean, Maali… – has a savagely critical reading of the self-conscious national lust for a rapacious origin.

Reflecting on the spurious léonine self-image of his countrymen, Maali reflects that ‘If we must have a national creature, if it must be on our flags, in our myths, and painted on our sports teams, why must it be the clichéd lion? If we must have an animal as a national symbol, let it be something original that we can own.’

‘Like many Sri Lankans,’ he goes on, ‘pangolins…’ – but I shan’t spoil it for you. Needless to say, the month or so since Chats‘s launch has seen you-couldn’t-make-it-up links form between the pangolin, Sri Lanka, and the realms of death and afterlife.

Chats is an entirely successful and perfectly mature novel, as good as – albeit much darker and less full of, well… life than – Chinaman. But it’s not perfect. Too many variants of ‘Maali’, ‘malli’, ‘Maal’, ‘Malin’, and so on for the untrained eye/ear; some minor characters who might be given clearer edges (or got rid of/merged); some textual messiness; an anachronism or two; a couple of vague inconsistencies, and one hell of what seemed like a twist (read literally) just pages from the end, but which turned out to be two sentences in need of much more careful separation. A lot, frankly, that ought to have been dealt with by professional wordsmiths at a world-bestriding publishing colossus.

But the bigger problem, I fear, will be one of international ‘accessibility’. In my review of Chinaman I noted that I thought the quite heavy preponderance of little-known Sri Lankan terms and Singlish might have the effect of denting saleability. The international success of that book would suggest that I was wrong – or that assiduous changes were made during the foreign publication process.

The same applies here. Minor matters of vocab or narrowly-regional reference (there is a sharp remark about the vulnerability of shop signs ‘that end in consonants’, e.g.) can of course be edited; but in the case of Chats, the hardwired very-Lankan-ness – the ’80s politics, the social concepts and the mytho-religious lexicon: the meat and bone of the matter (if one can use that term for ghosts) – is perhaps much more pervasive than the first-round local reader might imagine. Sri Lankans may enjoy the novel (doubtless the wrong word) for a certain grim nostalgia quotient; but all but very-interested foreign readers may find that there is rather a lot ‘going on’.

So much for second novels, difficult or otherwise. In literature, as in all else, people are ingrates – so it’s quite likely this will not be greeted with the fanfare that met Chinaman. For better or worse, Chats with the Dead is a novel by a multi-award-winning author, which will be judged on more than its own merits, and/or held to a higher standard.

More locally, the book may yet prove to have landed in a timely fashion. In these increasingly apocalyptic times, let us hope Maali Almeida is wrong when he warns: ‘Do not be afraid of ghosts, it is the living we should fear.’

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For the Sri Lankan Sunday Times

I had invited an old friend, a raven-haired young lady (named in Debrett’s) of impossibly romantic tendency, who first exposed me to the film in, I’d say, about 1998 or ’99. It took a bit of selling, even then (and back then I thought I was Byron); but after not much more than a couple of minutes of the multi-Oscar-winner – about, to take just Michael Ondaatje’s main character, Count Ladislaus de Almásy, a pilot of dubious origin who is shot down in the Egyptian desert during the Second World War, knows the lines to every song he’s ever heard but not his own name, and may or may not have betrayed his colleagues to ze Chermans for the sake of love (we have no time for the true biography of László Almásy) – I was, of course, completely hooked.

Alexandra, alas, is unavailable (she works in theatre, natch), so I’ll be going with Harry – and as Harry’s guest, in fact. Harry and I were in Afghanistan together, in 2013, and, as he likes to say, I’ll never come to Dorset. (Don’t tell him: I’ve been several times, just not to visit him. He lives in Fulham, anyway.) But that film that Alex showed me has been with me for the better part of 20 years, now.

I applied to study Egyptology almost entirely on the strength of it, a fact I carefully concealed from cagey academic overseers at school and university. During my gap year in South Africa – just to be even more abysmally pretentious – I didn’t tuck things in a copy of Herodotus (‘the book he brought with him through the fire’), but in a Collected Works of Oscar Wilde. At Oxford I would walk around listening to the movie’s famously aching – nay, plangent – Gabriel Yared soundtrack on a loop (like all Ondaatje books, the original itself is in any case full of music and singing). In Canada I bought a black leather blazer-style jacket from Banana Republic, although I drew the line at knee-length khaki shorts.

In the libraries of the Oriental Institute I found odd books on modern Egypt (gasp!), or at least more-recent explorations of the desert, and began to make my own trips – though actually seeing Egypt, perhaps predictably, was not really a course requirement. And when I fell out with my college it was the lonely-hero movies like The English Patient I returned to in the bitter evenings. I became well-versed in the admissions criteria for the Foreign Legion. And then – under the signature of my professor – I joined the Royal Geographical Society, as found, thinly disguised, in the EP novel:

‘In the 1920s there is a sweet postscript history on this pocket of earth, made mostly by privately funded expeditions and followed by modest lectures given at the Geographical Society in London at Kensington Gore. These lectures are given by sunburned, exhausted men who, like Conrad’s sailors, are not too comfortable with the etiquette of taxis…’

The RGS – right next door to the RAH – has some nice old copies of Almásy things (not all in English), as well as material on the Long Range Desert Group (cf. the famous picture of bearded, hard-eyed SOE types in duffel coats, that used to do the rounds of my regimental HQ) and more scholarly desert-exploration articles by the likes of Bagnold, Bermann, Ball and Hassanein Bey, which Ondaatje sought out in back numbers of the Journal.

And in my then mood, the romantic, antisocial, somewhere-on-the-spectrum explorer and lover of the desert’s solitude, whose happiest memory, as he tells his (supposedly) illicit inamorata, Katharine Clifton, is the time he travelled all day with a guide who said nothing until he pointed at the horizon and said “Faya”… well, it struck a loud, if none-too-subtle, chord.

After a meeting once with Ranulph Fiennes (I followed him round the bookshops of Oxford, between signings, until he told me that in Oman he would have killed me by now), he put me in touch with John Hare, who had just completed a long camel-backed Saharan crossing, and whose brain I wanted to pick about doing one through the long crescent of oases in Egypt’s Western Desert. I never made that journey (yet). But a flame had obviously been kindled.

My first copy of the novel, came, entirely fittingly, from the American University in Cairo bookshop: a well-annotated, typo-strewn Picador paperback reprint, with the price (I think) on the title page in blue biro, bought on my first trip, in 2003, in the days immediately following the invasion of Iraq – an interesting time to be a tall, blond, white man in an Arab capital. (The receipt is still inside: it cost 45 Egyptian pounds.) I later gave in and bought myself a first edition, on Charing Cross Road, which I’ve not opened. No doubt I have a clingfilmed ‘deluxe’ version of the movie somewhere, also.

The book, of course, is total poetry (if there were ever any grounds for criticism it would be that there’s too much ‘poetry’). In a wonderful deleted scene, available on YouTube, an old bedou tells Almásy something, which he translates to Katharine: “He thinks he’s been there – but the route he’s describing, well, he couldn’t survive the journey now; but he’s a poet, so his map is poetry.”

I’ve ever since been an enthusiastic reader of Saul Kelly, Justin Marozzi, and other writers on Herodotus, the lost oasis of Zerzura, and the ‘real’ Almásy, all of which led to a friendship with the freewheeling, polymathic writer Robert Twigger, to interview whom I ‘crossed the Sinai’ (I was on a bus) in 2009. Rob now lives in Dorset (ssshhhh…!), and his most recent travel book – on the Himalayas, following on from one on the Nile – was Book of the Month in Geographical magazine, the magazine of the RGS. In a nicely complementary kind of way, I’ve just this week been asked to write my first piece for that magazine.

Eventually, the chance arose to go to my own desert war, and so I leapt at it. But that was years ago now, and unexciting – and I survived, unharmed, unlike (the fictional) Almásy.

I remain ‘a person who if left alone in someone’s home walks to the bookcase, pulls down a volume and inhales it.’ I still keep things I need in books (which means that I can never find them). I know both names for what that place is called, at the base of a woman’s neck. Beyond a weekend or two with HM Forces, I haven’t yet got round to learning Arabic, let alone Hungarian, or several of the other languages that Almásy spoke (my two brothers speak a little, though I bet they can’t describe a mountain that looks like the shape of a woman’s back); but I can name some of the winds Almásy/Ondaatje describes, and tell their stories. I often listen to the Yared soundtrack. In fact, Benny Goodman’s ‘Wang Wang Blues’ was one of the first things that I played my child when she was born. Nor can I give her (or anyone else) a bit of plum without informing them that it’s a ‘very plum… plum.’ We were in Brighton, the other week, at the aquarium, to celebrate her turning one, and I found myself humming Lorenz Hart’s original words to ‘Manhattan’, ‘before they were cleaned up.’

I’ve watched the film at least a dozen times, now, and read the novel maybe half a dozen. I’ve given copies of both DVD and book as gifts, and indeed the movie-script on one occasion. And despite the fact that I own several copies, it’s one of a number of books – among those by a small number of literary favourites, like Chatwin, Coetzee, Golding, Dyer, Sebald, Hitchens – that, if I see it in a charity shop, I feel I ought to rescue, simply because it’s wrong that it should be there.

A few years and/or rewatches back, I realised that the day the ‘ENGLISH(?)’ patient is introduced to us is, by the notebook of the interrogating officer, my birthday.

In July, The English Patient won the Mother of all Bookers (or whatever this go round was called). We all know books mean many things to many people, and can have major real-world repercussions, on personal and even national levels. But amid all the renewed plaudits for Ondaatje’s classic novel, and the obvious, widespread awareness that it’s a tale packed full of questionable characters, traumatised and very literally scarred by conflict, it suddenly occurred to me that, given a long-enough trajectory, and alongside several other factors, it seems entirely plausible The English Patient is the reason that I went to war.

What would Ondaatje think of that, I wonder? My guess is he’d probably be horrified.

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For The Spectator

A:  No.

I sat in the corner of the library, reading Ondaatje, hoping none of the children would see.

The Gratiaen Prize – for those of you not up on your South Asian literary gongs – is an annual award given to Sri Lankan writers for creative writing in English, f(o)unded in 1993 by Michael Ondaatje, with his English Patient Booker winnings.

Writing-in-English is a small crowd here – ‘here’ being a few postcodes of Colombo, principally – as evidenced by the number of past Gratiaen winners who have subsequently become Gratiaen judges (and vice versa). Especially in the predominant fiction category, standard output tends to involve small concerns (gallery openings, affairs, playing cricket in the street) as none-too-subtle metaphors for the big issues (civil war, tsunami, political corruption, colonial legacy). There can be a lot of earnestness. And a lot of cliché.

Until last year, anyway, when Shehan Karunatilaka’s matchlessly ballsy Chinaman: the legend of Pradeep Mathew appeared to recalibrate the entire business overnight. The citation for Chinaman made a totally unambiguous point of praising it for talking about contemporary realities in contemporary, realistic parlance. And it has just, finally, been published – thanks to the Rs. 200,000 prize-money, awarded for that explicit purpose.  

Result: high expectations at last week’s British Council shortlist announcement.

Since January, the triumvirs of the Gratiaen’s reader-writer-academic judging panel had waded through 29 novels, 8 books of poetry, 9 collections of short stories, a few hybrids, a couple of fantasies [sic. as though a separate category], 1 memoir, 0 plays: a grand total of 52 submissions from the last calendar year.

The judges weren’t sparing any blushes. Their opening remarks – ‘moments of rare pleasure in picking out the rare gems, very rare’ – suggested a significant proportion of the 2009 submissions didn’t warrant finishing, let alone re-reading. Clearly, they said with a certain tone, many writers felt obliged to represent the Sri Lankan ‘zeitgeist’ (War – check. Tsunami – check). They noted the abundance of Ceylon-era nostalgia novels: ‘only a few of these, depending on the historical research, were convincing.’ They lambasted the continuing strain of mango-and-monsoon village tales. I was quite cheered.  

That said, I also inferred an important unspoken criterion: viable submissions needed not only to be by Sri Lankans but about Sri Lanka. Macro: a disconcerting remark about the absence of any ‘Muslim perspectives’ this year, as though the Gratiaen were ideally a collect-the-set deck of Happy Ethnic Families. Micro: a potentially-ominous fixation on ‘meticulous research’. Competitive authors, it seemed, need to deal with issues – and in Technicolor historical detail. The judges’ concern that Sri Lankan readers might not get certain international references (for example, to such exotic locales as the Campo di fiori or Knightsbridge), seemed actively to encourage parochialism, rather than inspiring the island’s writers to compete globally. A bad idea even if it were not wrong (the Colombo literati know Knightsbridge better than I do). 

So, given these demanding-yet-slightly-contradictory criteria, who made the cut?

The Whirlwind – Santhan Aivadurai. War novel. Villagers in a northern internment camp, run by the ill-starred Indian Peace Keeping Force. Clunky prose, shoe-horned literary references;

Tangled Threads – Premini Amarasinghe. Past-and-present emigration novel. Funny in places, and written in real, spoken English (not the wistful Brahmanic tones of an all-seeing Dickens-type narrator). A serious contender;

Singing of the Angels – T. Arasanayagam. Short stories, ‘reflecting the traditional and religious aspects of life in the North.’ One begins, ‘The peaceful afternoon is rocked by a mine blast.’ Foreigner-proof vocab – chembu, pooja, Thambi;

Mirror of Paradise – Asgar Hussein. Short stories, domestic scale, wryly humourful. In one, somebody unwittingly drinks a urine-sample (guffaws all round). Ceylonese pseudo-poetic standards (rain, fruit, etc.) cheerily sent up. But punch-lines sadly hammered home.

Mythil’s Secret – Prashani Rambukwella. Children’s novel (published). Fantasy, involving a yaka, or demon, and a boy finding his way in the world. Light dusting of satire, but overwrought prose: ‘sweet-smelling smoke billowed from the shell-shaped holder.’ (All SL writers think they are poets first and foremost. Blame Uncle Michael.)

Pity the judges. They can only work with what they’re given. but two of these manuscripts are not publishable, let alone prize-winners. Are the panel obliged to find 5 shortlisters (10% of total entries)? The unofficial remit of the Gratiaen – ‘Encouraging creative writing in English’ – is not, I feel, specific enough. Perhaps some pointers (not to say rules)?

As for the writers – and at the risk of ending up with a short-term surfeit of Colombo-centric urban tales – many would do well to focus on what they know, and worry less about trying to empathise with the war-afflicted in the Vanni triangle (this goes double for under-employed, ex-pat NGO workers – not that they’re eligible for the Gratiaen).

In his speech for the inaugural award, Michael Ondaatje stressed the importance of supporting serious literary talent, lest Sri Lanka be ‘known only by the clichés of a tourist board and by the nature of our politics.’

Lesson not learned. Alas for Sri Lankan writing in English, Chinaman – already flying off the shelves – begins to look like a fluke, a one-off rather than the start of a new trend.

Meanwhile, and purely on the basis of audience laughometer, my money’s on Hussein’s piss story to win – by a nose.

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The winner of the Gratiaen Award 2009 will be announced on Saturday, May 8^th.