
From the inspection of class divisions to the unresolved threads of personal history, there is much to appreciate in Michael Ondaatje's latest novel The Cat's Table. Though for me most beautiful aspect was reading a prolonged meditation on childhood through the eyes of the main character Michael and his two young friends Cassius and Ramadhin.
While the novel is not supposed to be autobiographical, Ondaatje clearly draws on his own experience as a child emigrating from Sri Lanka to Britain. Michael - the 11 year old first person main character voice - is making a three week journey from Colombo to England to resettle with his mother. The ship taking him is the massive Oronsay.
For a novel, it is deeply poetic. Written mostly in short chapters - often just two or three pages long - even the book's form is fragmented and reminiscent of the twists and distractions of a child's life.
I loved that about it.
Of course in hindsight it's hard to know exactly what childhood was about. It's difficult even to remember what we felt a month ago, so one's formative years are hard to pin down. But Ondaatje goes there.
The ever inquisitive natures of Michael, Cassius and Ramadhin sung the novel to life. Their narrow-focussed naivety reminded me of my own. "Because, our greatest pleasure was when one hundred spoons were flung by a steward into the pool and Cassius and I dived in with competitors to collect as many as we could in our small hands ... And if I had been asked to choose a career then, or at any time during those twenty-one days, I would have said I desired to be a diver in some similar competition for the rest of my life." (p. 86)
A fixation on new things - mattering not whether "high" or "low" culturally - is another great aspect of Michael, Cassius and Ramadhin's adventurous spirits. Like the familiar story of the child who plays with the cardboard box rather than with the expensive gift inside, Ondaatje's three musketeers care little for what doesn't grab their immediate intrigue. But they have noses for what's important.
For them it is not dining at a dinner table further up the social chain that matters (the Cat's Table in the title refers to the humble seating position of the three boys) but the simple fact that they are on a boat for a long time, going a long way, with endless interesting people to keep them busy and awake at night. That is the blinding beauty of childhood in general, and The Cat's Table.
Near the start of the journey is a passage demonstrating the lack of "down time" and endless mischief the boys occupy themselves with. "It was almost midnight and the three of us were smoking twigs broken off from a cane chair that we lit and sucked at. Because of his asthma Ramadhin was not enthusiastic about this, but Cassius was eager that we should try to smoke the whole chair before the end of the journey ... We slid quietly into the swimming pool, relit our twigs and floated on our backs. Silent as corpses we looked at the stars. We felt we were swimming in the sea, rather than a walled in pool in the middle of the ocean." (p. 20-21)
It's a grand image. I can feel the silence and awe of the three souls, suspended there, caring nothing for the world at large, but only what they were seeing, smelling, smoking. And most profound is the amazing clarity - beyond learning, experience and the adult world - that they possess in that moment.


