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59 pages 1 hour read

Michael Ondaatje

The English Patient

Fiction | Novel | Adult | Published in 1992

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Chapters 4-7Chapter Summaries & Analyses

Chapter 4 Summary: “South Cairo 1930-1938”

After Herodotus’s time, the Western world had little interest in the desert until the 20th century. Starting in the 1920s, the Royal Geographical Society, based in London, began privately funding desert expeditions and lectures given by “sunburned, exhausted men” (133). These lectures, which happened twice per month, never covered the costs—human or financial—of the expeditions and only covered geographical observations. By the mid-1930s, an explorer named Ladislaus de Almásy discovered the lost oasis of Zerzura, and in 1939, the last decade of desert exploration ended when Libya became a theater of war.

At the villa, Hana sits next to the English patient’s bed and listens to his stories about the desert. In 1930, he began mapping the Gilf Kebir Plateau as part of his search for the lost city of Zerzura. He refers to himself and his fellow explorers as “desert Europeans” (135). The Gilf Kebir, located 400 miles west of the Nile, was where ancient Egyptians believed the world ended. There is little water in the area, but the explorers heard rumors of fertile lands in the middle of the desert.

In 1931, the English patient took his first journey to the desert, accompanied by an explorer named Madox. They embarked on a week-long journey to El Taj and were plagued by sandstorms, which, in local lore, are good luck. They kept moving to avoid being buried, passing through three storms in nine days. One of their horses vanished and three camels were killed. They finally arrived at El Taj, silenced by the trauma of their journey.

In 1931, the English patient joined a Bedouin caravan and heard about another white explorer, Fenelon-Barnes. He went to Fenelon-Barnes’s tent but he was out for the day. Seeing a small lump on the bed, the English patient pulled the blankets back and found a small girl, tied up and asleep.

For several years in the early 1930s, European explorers kept searching for Zerzura. The English patient met many indigenous desert communities, who find the distinctions between Europeans’ nationalities to be insignificant. The English patient grows to hate nations himself, saying they harmed the world and were responsible for Madox’s death. When European explorers go to the desert, they are able to become nationless, a “place of faith” into which they can disappear (139). The English patient continued traveling with Madox and several others throughout 1933 and 1934. He tells Hana that mapmakers once named places they traveled after their lovers rather than after themselves and says that the ends of the earth are not point on a map but instead reflect the first time white people saw a landscape that had always existed. He adds that people are not concerned with their reflections when they are young and only begin to worry how they look—and what their legacy will be—when they are older.

In 1936, the English patient’s expedition was joined by Geoffrey Clifton and his wife Katharine, a newly married couple on the last days of their honeymoon. The Cliftons flew to Cairo and Geoffrey met with the exploration team, who were still looking for Zerzura. Katharine, who had “lionlike hair,” seemed friendly but uncertain (142). Geoffrey clearly did not love the desert as much as the rest of the team but felt a kind of affection for it. One night, while the group sat around a fire in the desert, Katharine recited a passage from John Milton’s Paradise Lost. The English patient, who had never enjoyed poetry, fell in love with her voice.

Months later, he and a slightly drunk Katharine would waltz together in Cairo. He spent the intervening years trying to decode her stare during that dance and determined that she was studying him. He hints to Hana that he and Katharine had an affair in Cairo, with the desert always on their minds, but adds that one will not find adultery in the minutes of the Royal Geographical Society meetings.

Chapter 5 Summary: “Katharine”

The first time Katharine dreamed of the English patient, she woke screaming in bed next to Geoffrey. Her dream is the first time she realized she was in love with him, and this chaotic dream was followed by a series of peaceful ones. During their travels, she wanted to slap him every time he talked about the desert, and upon reflection, realized the desire was sexual.

Outside Cairo, the English patient drove Katharine into the city while Geoffrey checked the fuel lines of their small plane. He was overly polite and she hoped to never see him again. Before leaving, he stepped close and wiped his sweaty forearm across her neck. Later, before they had sex for the first time, they talked about what they hated most: her answer was lies, and his was ownership. Katharine punched him, leaving a bruise below one eye. While examining the bruise, he realized he had not looked into a mirror for years.

Their illicit relationship continued, and they often met in Groppi Park, which had heavily watered plum gardens. Katharine was always happiest near water. The English patient resumed his research into the location of Zerzura. Katharine expressed guilt about their affair, claiming Geoffrey would “go mad” if he found out (153). Madox noticed that the English patient had multiple new bruises and wondered why the latter had suddenly become so clumsy. When the English patient walked through Cairo with Katharine and they heard the minarets calling Muslim residents to prayer, they felt like sinners in a holy city.

When Katharine had to go home to Geoffrey, the English patient felt like he was disintegrating mentally and no longer cared about social mores. Before long, she told him she could no longer see him and he agreed. That night, they walked through Groppi Park and Katharine licked a tear from the English patient’s cheek. As she walked away, he said he did not miss her yet, and she replied, “You will” (158).

Chapter 6 Summary: “A Buried Plane”

After bathing the English patient, Hana injects him with morphine. He begins telling her more about his time in Cairo.

In 1936, the room where he met Katharine overlooked the city. In 1937, he and Madox went on an expedition to Uweinat, a mountain range at the Egyptian-Libyan-Sudanese tripoint. The English patient asked Madox the name for the hollow at the base of a woman’s neck and Madox told him to pull himself together.

Later, Caravaggio tells Hana about a Hungarian man named Almásy, a desert explorer who had extensive knowledge of local North African dialects and landscapes. Almásy guided German spies across the desert during the war. Caravaggio says he does not think the English patient is English. He reminds her what the English patient suggested when they were trying to name the dog, pointing out that one of the suggestions, Cicero, is a code name for a German spy thought by the British to be a triple agent. He concludes that the English patient is actually Almásy. Hana thinks this is ridiculous and maintains that the patient is English.

Caravaggio says that in 1942, the Germans sent a spy named Eppler into Cairo carrying a copy of Daphne du Maurier’s novel Rebecca as a code book for transmitting messages. The man who guided Eppler through the desert was Count Ladislaus de Almásy, also known as “the Rebecca spy.” Although Almásy had English friends, also desert explorers, before the war, he ultimately chose to help the Germans. Caravaggio and other Allied intelligence agents had been tracking them, but after Almásy left Eppler in Cairo, he disappeared into the desert. He adds that the man who caught Eppler was named Sansom, which could explain another of Almásy’s name choices for the dog: Delilah.

Hana says it does not matter what side the English patient was on as the war is over. Caravaggio wants to give him a Brompton cocktail, a mixture of alcohol and morphine, to see if he will admit his identity. Hana, upset by the effects of Caravaggio’s morphine use, tells him to leave the English patient alone. Caravaggio promises the cocktail will not hurt the English patient and might actually ease his pain.

Caravaggio administers the cocktail, and the English patient begins describing his activities in Cairo in 1942. He says he had gone to Cairo and was driving back to the desert when his truck exploded. He suspects it had been sabotaged, as there were often spies living among the Bedouin during the war. He began walking toward Uweinat, where he knew Madox had left a plane that the expeditioners no longer used. After years, it had been buried by sandstorms. He walked for four days, and was surrounded by war, as the local Bedouin communities had split into different camps.

Hana interrupts, telling the English patient that Caravaggio thinks he is not English, but she stops when she realizes he is not listening. He continues his story. After four days of walking, he arrived at a shallow well called Ain Dua and entered a cave called the Cave of Swimmers. It was full of prehistoric paintings, some of animals and others of humans in swimming postures. He found Katharine’s body in a corner, where he had left her years earlier. He thought about how much Katharine loved water and imagined that he himself would be happy to die in a cave. He “approached her naked” as he would have done in their Cairo room and wonders to Hana what he did that was so terrible (170). He carried Katharine’s body into the sun.

He explains that she had been injured in 1939, when Geoffrey had attempted to kill himself and Katharine by crashing his own plane, named Rupert. While Geoffrey died, Katharine survived but was too badly injured to be moved. After Katharine ended their secret relationship, the English patient became bitter and distanced himself from her, even suspecting jealously that she took another lover. Just before the war began, he returned to Gil Kebir to clear the expedition group’s base camp. Geoffrey had planned to pick him up in Rupert, but instead, Geoffrey flew the plane directly toward the English patient, killing himself and wounding Katharine.

When the English patient carried Katharine to the Cave of Swimmers, she asked him how he could hate her. He pointed out that Geoffrey had indeed gone mad after finding out about the affair, as she said he would. She said Geoffrey only found out about their relationship because of how badly the English patient treated her after she ended it. He pauses, and Caravaggio places another morphine tablet in his mouth. He says that when he left Katharine in the cave, he also left his copy of The Histories.

When he finally returned to the cave in 1942 and carried Katharine’s body to Madox’s plane, he realized quickly after takeoff that parts of the plane were rotten. He felt old and tired, specifically tired of living without Katharine. Oil leaked all over his legs, a spark ignited, and the English patient managed to jump out in a parachute before realizing his body was on fire.

Later, Hana comes into the English patient’s room and sees Kip standing beside the bed. The men pass a can of condensed milk back and forth as they talk. They have bonded over the fact that they both chose to leave the countries of their birth. Kip tells both of them about his work as a sapper, and the English patient guesses correctly that Lord Suffolk, famously the head of an experimental sapper unit, must have been Kip’s teacher. Kip says that Suffolk, along with his chauffeur, Fred Harts, and his secretary, Miss Morden, were killed in 1941 while trying to diffuse a bomb at Erith Marshes in Kent. Hana looks at Kip and the English patient, thinking about what both of them have shared with her.

Chapter 7 Summary: “In Situ”

The narrative rewinds to 1940. Kip was with Lord Suffolk, Mr. Harts, and Miss Morden, in Westbury, England. Kip and Miss Morden got along well, and she was the first Englishwoman he had spoken to in any meaningful way. Kip’s family had suspected that, as the second son, he would become a doctor, but when war broke out, Kip joined a Sikh regiment that was shipped to England. From there, he volunteered for an engineering unit that specialized in bomb disposal. The 25 bomb disposal units lacked advanced technical equipment and were not led by specialists.

Kip soon learned that the deadliest bombs were ones dropped from low altitudes that did not explode until after they landed. After the Blitz began in that year, the English countryside was suddenly full of unexploded German bombs waiting to be tripped by unsuspecting civilians. The average life span of a sapper during that time was 10 weeks.

Lord Suffolk introduced Kip to English customs and culture, including tea, which he came to love. Suffolk had convinced government authorities to let him train a small unit, comprised of 12 men, for bomb disposal in rural Exmoor. Kip tells Hana that Lord Suffolk, affable and handy, was “the best of the English” (185). Suffolk told Kip that he trusted him the same way he did Mr. Harts and Miss Morden, and the two men became close friends.

Kip was 21 years old and was the only Indian applicant to Lord Suffolk’s unit. While waiting with the other applicants to meet Suffolk, Kip caught Miss Morden staring at him and assumed she had never seen a turban before. When Lord Suffolk finally arrived, the exam began, and Kip finished it quickly as he had a thorough understanding of mathematics and mechanics. He was one of three applicants selected by Suffolk. When Miss Morden brought the selected men some sherry to celebrate, she congratulated Kip and drank his sherry, acknowledging that Sikhs do not consume alcohol. Suffolk said the group would be a family.

Kip began traveling around England with Suffolk, Miss Morden, Mr. Harts, and five other sappers. He had been in the unit for about a year when the explosion killed Suffolk, Miss Morden, and Mr. Harts. Kip was in London that day, defusing a 4,000-pound Satan bomb, when two bomb disposal officers told him what happened. The officers needed Kip to diffuse another bomb at Erith, the same kind that had killed his compatriots. Kip drove to Erith with Hardy but insisted on diffusing the bomb alone. Angry and exhausted, he remembered Suffolk’s declaration that a sapper doing a bomb disposal has one enemy, and he has to consider that enemy’s character. After many hours of working, he discovered that the bomb contained a second, separate device to trick anyone attempting to defuse it. He tells Hana he was lucky to have figured it out but still did not entirely understand it. Later, he came to understand that his discovery would change how Allied bomb disposal was done.

He realized he carried all of Suffolk’s knowledge in him and decided to leave the disposal unit, rejoining the army as an enlisted man who was responsible for general engineering work. He was accustomed to invisibility and did not want to be recognized as one of Lord Suffolk’s sappers. By the time he was on a ship heading for Italy, another sapper came up with the solution to the problem of a second device.

Kip tells Hana about his older brother, who refused to fight for the English and was imprisoned. However, he says his brother was not insulted when Kip took his place in the enlistment. Kip has not received a letter from his brother in a long time but believes he is still alive in prison.

He remembers disarming a bomb near the Uffington White Horse, a prehistoric chalk hill figure carved into the Berkshire Downs. He was with Lord Suffolk and Miss Morden, and Miss Morden brought him some tea and Kipling cake. She told him how she met Lord Suffolk, and as she spoke, he became able to focus more clearly on the bomb. She briefly touched his shoulder and left.

Chapters 4-7 Analysis

By opening Chapter 4 with a reference to Herodotus and a brief history of European exploration of the desert, Ondaatje emphasizes the intertextual elements of the novel. It is not purely a fictional story, but instead draws on actual people and events, including the real László Almásy, who spent much of his life looking for the mythical oasis city of Zerzura. By blending history and myth, fact and legend, the novel destabilizes its own genre and points out the ways that fictional narratives are porous enough to be invaded by other types of narrative.

It is in this part of the text that the desert itself becomes a central character and foregrounds the theme of National Identity and Personal Identity. As an allegedly nationless place, it remains peripheral to the political and social problems that lead to war, at least in the English patient’s mind. However, the very presence of European explorers is a reminder of colonization’s reach. The Royal Geographical Society’s attempts to map the desert can be seen as attempts to control it by organizing it, making it a place with specific boundaries and thresholds. In the same way this fictional novel is invaded by other stories, the desert is invaded by people from other continents who claim ownership over it.

The ugliness of imperialism is apparent in the story about the young Arab girl in Fenelon-Barnes’s tent. The English patient only noticed the bed—and thus the young girl—because it was reflected in a small mirror. Colonizers frequently kidnapped and sexually abused people from indigenous populations, and this scene literalizes the hideous reflection of that abuse. At different points in the novel, Hana and the English patient are both reluctant to look in the mirror, and this hesitation could signal that they wish to avoid seeing the truth about Western colonial violence, the war, and even themselves.

Katharine Clifton becomes a significant presence in the novel, and the English patient finally talks in detail about his relationship with her. Many of the passages about Katharine emphasize her body and the physical nature of her connection with the English patient. Their relationship starts out as a sexual one, but they ultimately develop an emotional bond and fall deeply in love. When they are not together, the English patient feels like he is losing his sanity and cannot work, thus becoming physically impaired as a result of their separation. Additionally, Katharine frequently hits or wants to hit the English patient, which suggests that in the ethos of the novel, love is inextricably linked to violence.

This conflation of comfort and harm is echoed in Caravaggio’s insistence that the Brompton cocktail will ease the English patient’s pain, when the truth is that Caravaggio is desperate to find out if the patient is Almásy. During their conversations in this section, the novel again foregrounds the theme of National Identity and Personal Identity. Caravaggio believes the English patient’s entire identity is rooted in whether he betrayed the Allies by helping German spies.

The scenes in which these two men speak also foreground the theme of Storytelling as a Form of Healing, although the novel is ambiguous about the extent to which either Caravaggio or the English patient feel they are actually healing. Caravaggio’s questioning of the English patient takes the form of a gentle but persistent interrogation, putting him in the role of the reader hearing the story of the English patient’s love for Katharine for the first time. Since the English patient’s body is already so damaged and he presumably does not have long to live, he cannot be compelled to tell this story under threat of torture or death: rather, he seems to share it willingly, if sadly. This suggests that he would experience a sense of healing if Caravaggio let go of the idea that someone can be defined by their identification with a nation-state and if he knows that his story —and the history of his relationship with Katharine—will outlive him.

Chapter 7 tells Kip’s story in more detail, elaborating on multiple themes that recur throughout the novel. Kip’s journey centers, to a great extent, on his identification with a particular nation, returning to the theme of National Identity and Personal Identity. Unlike his brother, an Indian nationalist who is disgusted with British colonialism, Kip embraces Western culture, drinking English tea and listening to American music. He also risks his life to disarm bombs in England and Italy, putting himself on the line to save Europeans. He implies that Lord Suffolk, who made him feel like he was part of an unconventional family, was able to look past Kip’s race and love him for his intelligence, wit, and discipline. It thus seems that Kip has come to see his own race as a strike against him, something others must ignore if they want to have a relationship with him. While the English patient compares himself to Kip, calling them both “international bastards,” Kip actually does the opposite of what the English patient does: While the English patient goes into the desert to erase his national identity, Kip leaves his old nation behind to embrace a new one.

Finally, these chapters see continual shifts in perspective, drawing attention to the fact that there is no single narrator—and thus no single narrative—in The English Patient. At certain points, it is impossible to discern whose perspective is being offered. On a literal level, this technique underscores the fact that different people might tell the same story differently; on a symbolic level, it underscores the fact that within global history all stories, including the histories of war and colonialism, must be told from multiple perspectives in order for a complete picture to emerge.

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