He takes us through the sweep of history in the island of Sri Lanka, summoning up stories of war and love, of goon squads, kings and robbers, and of two millennia of culture, to create a tapestry of images, scents and gestures - the unburial of stone Buddhas, a family of stilt-walkers crossing a field, the pattern of teeth marks on skin drawn by a monk from memory - that reveal the longing for, and expose our anguish over, lost loves, homes, and lost ways of expression. He joins the poets of old who "wrote their stories on rock and leaf / to celebrate the work of the day,/ the shadow pleasures of the night." At the same time, his artistry as a poet, and the language of these poems, supersede all individual story-moments to give us a larger understanding of the human condition - he himself can be counted among those who "shared it / on a scroll or nudged / the ink onto stone / to hold the vista of a life."
Handwriting is Michael Ondaatje's return to the place of his family, a remembrance, an honoring, and a lament of astonishing beauty. It is an irresistible work of poetic genius, and reaffirms Ondaatje's stature as one of the finest poets writing today.
In the dry lands
every few miles, moving north,
another roadside Ganesh
Straw figures
on bamboo scaffolds
to advertise a family
of stilt-walkers
Men twenty feet high
walking over fields
crossing the thin road
with their minimal arms
and "lying legs"
A dance of tall men
with the movement of prehistoric birds
in practice before they alight
So men become gods
in the small village
of Ilukwewa
Ganesh in pink,
in yellow,
in elephant darkness
His simplest shrine
a drawing of him
lime chalk
on a grey slate
All this glory
preparing us for Anuradhapura
its night faith
A city with the lap
and spell of a river
Families below trees
around the heart of a fire
tributaries
from the small villages
of the dry zone
Circling the dagoba
in a clockwise hum and chant,
bowls of lit coal
above their heads
whispering bare feet
Our flutter and drift
in the tow of this river
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