The English Patient

found these parental figures. He can relax in the midst of this mime of conversation.

He has his hands under his head, interpreting a new toughness in the face of the angel he didn’t notice before. The white flower it holds has fooled him. The angel too is a warrior. In the midst of this series of thoughts his eyes close and he gives in to tiredness.

   He is sprawled out with a smile on his face, as if relieved finally to be sleeping, the luxuriousness of such a thing. The palm of his left hand facedown on the concrete. The colour of his turban echoes that of the lace collar at the neck of Mary.

At her feet the small Indian sapper, in uniform, beside the six slippers. There seems to be no time here. Each of them has selected the most comfortable of positions to forget time. So we will be remembered by others. In such smiling comfort when we trust our surroundings. The tableau now, with Kip at the feet of the two figures, suggests a debate over his fate. The raised terra-cotta arm a stay of execution, a promise of some great future for this sleeper, childlike, foreign-born. The three of them almost at the point of decision, agreement.

Under the thin layer of dust the angel’s face has a powerful joy. Attached to its back are the six light bulbs, two of which are defunct. But in spite of that the wonder of electricity suddenly lights its wings from underneath, so that their blood-red and blue and goldness the colour of mustard fields shine animated in the late afternoon.

Wherever Hana is now, in the future, she is aware of the line of movement Kip’s body followed out of her life. Her mind repeats it. The path he slammed through among them. When he turned into a stone of silence in their midst. She recalls everything of that August day—what the sky was like, the objects on the table in front of her going dark under the thunder.

She sees him in the field, his hands clasped over his head, then realizes this is a gesture not of pain but of his need to hold the earphones tight against his brain. He is a hundred yards away from her in the lower field when she hears a scream emerge from his body which had never raised its voice among them. He sinks to his knees, as if unbuckled. Stays like that and then slowly gets up and moves in a diagonal towards his tent, enters it, and closes the flaps behind him. There is the dry crackle of thunder and she sees her arms darken.

Kip emerges from the tent with the rifle. He comes into the Villa San Girolamo and sweeps past her, moving like a steel ball in an arcade game, through the doorway and up the stairs three steps at a time, his breath metronomed, the hit of his boots against the vertical sections of stairs. She hears his feet along the hallway as she continues to sit at the table in the kitchen, the book in front of her, the pencil, these objects frozen and shadowed in the pre-storm light.

   He enters the bedroom. He stands at the foot of the bed where the English patient lies.

Hello, sapper.

The rifle stock is against his chest, its sling braced against his triangled arm.

What was going on outside?

Kip looks condemned, separate from the world, his brown face weeping. The body turns and fires into the old fountain, and the plaster explodes dust onto the bed. He pivots back so the rifle points at the Englishman. He begins to shudder, and then everything in him tries to control that.

Put down the gun, Kip.

He slams his back against the wall and stops his shaking. Plaster dust in the air around them.

I sat at the foot of this bed and listened to you, Uncle. These last months. When I was a kid I did that, the same thing. I believed I could fill myself up with what older people taught me. I believed I could carry that knowledge, slowly altering it, but in any case passing it beyond me to another.

I grew up with traditions from my country, but later, more often, from your country. Your fragile white island that with customs and manners and books and prefects and reason somehow converted the rest of the world. You stood for precise behaviour. I knew if I lifted a teacup with the wrong finger I’d be banished. If I tied the wrong kind of knot in a tie I was out. Was it just ships that gave you such power? Was it, as my brother said, because you had the histories and printing presses?

You and then the Americans converted us. With your missionary rules. And Indian soldiers wasted their lives as heroes so they could be pukkah. You had wars like cricket. How did you fool us into this? Here … listen to what you people have done.

He throws the rifle on the bed and moves towards the Englishman. The crystal set is at his side, hanging off his belt. He unclips it and puts the earphones over the black head of the patient, who winces at the pain on his scalp. But the sapper leaves them on him. Then he walks back and picks up the rifle. He sees Hana at the door.

   One bomb. Then another. Hiroshima. Nagasaki.

He swerves the rifle towards the alcove. The hawk in the valley air seems to float intentionally into the V sight. If he closes his eyes he sees the streets of Asia full of fire. It rolls across cities like a burst map, the hurricane of heat withering bodies as it meets them, the shadow of humans suddenly in the air. This tremor of Western wisdom.

He watches the English patient, earphones on, the eyes focused inwards, listening. The rifle sight moves down the thin nose to the Adam’s apple, above the collarbone. Kip stops breathing. Braced at exact right angles to the Enfield rifle. No waver.

Then the Englishman’s eyes look back at him.

Sapper.

Caravaggio enters the room and reaches for him, and Kip wheels the butt of the rifle into his ribs. A swat from the paw of an animal. And then, as if part of the same movement, he is back in the braced right-angle position of those in firing squads, drilled into him in various barracks in India and England. The burned neck in his sights.

Kip, talk to me.

   Now his face is a knife. The weeping from shock and horror contained, seeing everything, all those around him, in a different light. Night could fall between them, fog could fall, and the young man’s dark brown eyes would reach the new revealed enemy.

My brother told me. Never turn your back on Europe. The deal makers. The contract makers. The map drawers. Never trust Europeans, he said. Never shake hands with them. But we, oh, we were easily impressed—by speeches and medals and your ceremonies. What have I been doing these last few years? Cutting away, defusing, limbs of evil. For what? For this to happen?

What is it? Jesus, tell us!