Handwriting : poems / Michael Ondaatje.

By: Material type: TextTextPublication details: New York : A.A. Knopf : Distributed by Random House , 1999.Edition: 1st U.S. edDescription: 78 p. ; 22 cmISBN:
  • 9780375405594
Subject(s): DDC classification:
  • 811.54 OND
LOC classification:
  • PR9199.3.O5 H36 1999
Summary: Ondaatje is undoubtedly best known for his novel, The English Patient, on which the award-winning film was based. Good as that novel was, it is still a pity that more people havent read his poetry, which is deeply evocative and suffused but never overburdened with sensuous imagery. Here he revisits his Sri Lankan heritage, re-creating the past in sparkling takes: Once we buried our libraries/ under the great medicinal trees/ which the invaders burned; And in our Book of Victories/ wherever you saw a parasol/ on the battlefield you could/ identify the king within its shadow. Buddhas abound, as do Cormorant Girls, saffron, rice, cattle bells, and, of course, water. A poem picks up one image, then starts the next few lines with another, so that images glance off the page, refusing to settle down into straightforward storytelling. The result is a sort of mosaic of feeling and light that is affecting reading.
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Item type Current library Call number Status Date due Barcode
Libro - Monografía Biblioteca Pública de San Miguel de Allende, A.C. 811.54 OND (Browse shelf(Opens below)) No devuelto 066970

Ondaatje is undoubtedly best known for his novel, The English Patient, on which the award-winning film was based. Good as that novel was, it is still a pity that more people havent read his poetry, which is deeply evocative and suffused but never overburdened with sensuous imagery. Here he revisits his Sri Lankan heritage, re-creating the past in sparkling takes: Once we buried our libraries/ under the great medicinal trees/ which the invaders burned; And in our Book of Victories/ wherever you saw a parasol/ on the battlefield you could/ identify the king within its shadow. Buddhas abound, as do Cormorant Girls, saffron, rice, cattle bells, and, of course, water. A poem picks up one image, then starts the next few lines with another, so that images glance off the page, refusing to settle down into straightforward storytelling. The result is a sort of mosaic of feeling and light that is affecting reading.

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