my girl

"We are communal histories, communal books. We are not owned or monogamous in our taste or experience"- The English Patient

The reading by Michael Ondaatje under the quiet cavernous New York Public Library and the discussion that followed represented a four year break in the time that I had seen him. There was an astonishing passage, hallucinatory according to one reviewer, of a boy on a horse riding through an eclipse. Though I have only read the book Divisadero once, the reading of it was like opening a wound again, the scar the memory of it.

There are many flaws with Ondaatje's style of writing, which I am not oblivious to; the inability to pitch dialogue, the inadequacy of the political and moral vision, which is found in the best of Naipaul, the perfection of every character; that is to say, a lack of mundane, annoying characteristics (no one is a habitual nose-picker in his novels) which epicizes the characters. All of that is true. But there is an unbearable compassion in his writing, a true recognition of pain, loss and betrayal, a haunting that is there in every story, and is left like the memory of lingering smoke in every reader. For the sheer humanity and understanding in his novels, for his homage to the complexity of how the past links up with the future, and the present, there is no one quite like him. And all of that is leaving aside his much feted language; quiet sentences precede quiet sentences of clarity and beauty, until in the middle of a paragraph, at the end of a sentence, there is a sudden starburst of beauty that verges on pain; because the revelation on the page is so true, so unexpected, and now, having read it, changes life so imperceptibly.

And with all of that, I am plunging into Divisadero again.