Structure Created Through Confusion-The English Patient
In The English Patient, written by Michael Ondaatje exhibits third person omniscient point of view to develop a postmodern novel, which develops confusion and consumes the reader into the plot. For the most part, The English Patient is classified as being written in third person omniscient point of view because there is no single narrator and each character has an unlimited access of knowledge of the events. This style is a strong technique that enables Ondaatje to incorporate historical events into the novel, through fictional characters. Through the four main characters, the English patient (Almásy), Hana, Caravaggio, and Kip, the reader learns about four separate characters, and their paths of bringing them together. Ondaatje intertwines these histories through the characters’ stories, to create a single story. Ondaatje’s technique of intertwining these plots is often seen as confusing to the reader, because the third person omniscient aspect is often difficult to differentiate because Ondaatje writes some parts in first person point of view as well, therefore distinguishing who the speaker is, as well if the event is in the past or in the present.
Ondaatje writes in present tense about a past event. In this excerpt, Almásy is with Katherine in bed, enjoying their absurd affair. However, in reality, the English Patient is bedridden at the villa, because he is recovering from the intense burns, with Hana caring for him. Thus because the reader knows his state of being, it is impossible for this event to be taking place in present time. The postmodern aspect is a strong feature which adds to the confusion in the point of view of the novel. It becomes difficult to determine between past and present time in the way Ondaatje stylizes his work. As a result of the third person omniscient point of view that the reader is able to learn the characters’ histories and personalities. Ondaatje specifically creates the four characters in the novel to develop their own features. These features are used to support the corresponding characters and their corresponding plots. The English patient allows Hana to care for him, and Hana needs to feel needed. Caravaggio is Hana’s anchor, and he provides insight into her history. At the same time, Caravaggio and Kip are allies, in that they are both from nations which are colonies, and allies in the war. Caravaggio challenges the English patient, because he questions Almásy’s stories, which is an unusual occurence for Almásy. Caravaggio expresses his uncertainty in regards to Almásy when talking to Hana. He says, “I know you love the man, but he’s not an Englishman. In the early part of the war I was working in Cairo—the Tripoli Axis. Rommel’s Rebecca spy—“ (Ondaatje 164). Kip and Hana are both detached people whom although seem unattached to one another. The reader learns through their stories that they have the same passion: saving people, but also they are content with being alone, but are enchanted by one another when together. Their views on life seem somewhat deceiving in that although Kip and Hana may not need each other, they have a lust that can be contained if they want it to be. An example of Hana and Ki
Some topics in this essay:
English Patient,
Katherine Clifton,
Klages Ondaatje,
Caravaggio Kip,
Caravaggio Hana,
North African,
Hana Kip’s,
Kip Hana,
War II,
London Ondaatje,
english patient,
person omniscient,
third person omniscient,
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ondaatje writes,
omniscient view,
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kip hana,
historical metafiction,
reader able learn,
reader believes,
caravaggio kip,
reader learns,
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Approximate Word count = 1384
Approximate Pages = 6 (250 words per page double spaced)
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