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Warlight: A novel Kindle Edition
In a narrative as beguiling and mysterious as memory itself—shadowed and luminous at once—we read the story of fourteen-year-old Nathaniel, and his older sister, Rachel. In 1945, just after World War II, they stay behind in London when their parents move to Singapore, leaving them in the care of a mysterious figure named The Moth. They suspect he might be a criminal, and they grow both more convinced and less concerned as they come to know his eccentric crew of friends: men and women joined by a shared history of unspecified service during the war, all of whom seem, in some way, determined now to protect, and educate (in rather unusual ways) Rachel and Nathaniel. But are they really what and who they claim to be? And what does it mean when the siblings' mother returns after months of silence without their father, explaining nothing, excusing nothing? A dozen years later, Nathaniel begins to uncover all that he didn't know and understand in that time, and it is this journey—through facts, recollection, and imagination—that he narrates in this masterwork from one of the great writers of our time.
- LanguageEnglish
- PublisherVintage
- Publication dateMay 8, 2018
- File size1873 KB
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Editorial Reviews
Amazon.com Review
Review
A New York Times Notable Book
A Washington Post Notable Book
An NPR Best Book of the Year
“An elegiac thriller [with] the immediate allure of a dark fairy tale.” —The Washington Post
“[Ondaatje] casts a magical spell, as he takes you into his half-lit world of war and love, death and loss, and the dark waterways of the past.” —The New York Review of Books
“Mr. Ondaatje has stepped into John le Carré’s world of spies and criminals. . . . His novel views history as a child would, in ignorance but also in innocence and wonder.” —The Wall Street Journal
“[An] intricate and absorbing novel. . . . Brings alive a time and a place.” —The New York Times Book Review
“A rare and beautiful thing—a deeply retrospective novel about war secrets that feels neither overstated nor overly ethereal. . . . One of the most absorbing books I’ve read all year.” — Esi Edugyan, The Times Literary Supplement (London)
“Wonderfully atmospheric, beautifully paced, subtle storytelling. . . . Tells the hidden, barely spoken, tale of war, especially as it impacts on children. Ondaatje skilfully moves back and forth through time, finally offering an extraordinary narrative twist that feels as earned as it is unexpected.” —2018 Man Booker Prize Jury citation
“A meditation on the lingering effects of war on family.” —Barack Obama (personal pick for recommended summer reading)
“Our book of the year—and maybe of Ondaatje’s career. . . . A terrifically tense spy thriller and a delicate coming-of-age tale.” —The Telegraph (London)
“A superb wartime mystery. . . . Ondaatje’s is an aesthetic of the fragment. His novels are constructed, with intricate beauty, from images and scenes that don’t so much flow together as cling together in vibrating, tensile fashion.” —The Boston Globe
“A masterpiece of shifting memory.” —Los Angeles Times
“An intricate ballet of longing and deception. . . . If writers are cartographers of the heart, Michael Ondaatje's oeuvre could fill an atlas.” —O, The Oprah Magazine
“An entrancing and masterfully crafted story.” —The New Republic
“With the force of something familiar, intimate, truthful . . . Warlight sucked me in deeper than any novel that I can remember; when I looked up from it, I was surprised to find the 21st century still going on about me. . . . A work of fiction as rich, beautiful, as melancholy as life itself, written in the visionary language of memory.” —Alex Preston, The Guardian
“Lyrical. . . . Ondaatje illuminates the rubble-strewn landscape [of post-war London] from angled sidelights. . . . His prose matches a mood of mystery and suspicion that tantalizes.” —The Economist
“Fascinating. . . . Lyrical. . . . A mournful, impressionistic memory of all the things that never were.” —Entertainment Weekly
“The author’s prose is as bright and startling as we’ve seen it since The English Patient.” —Condé Nast Traveler
“A haunting mystery. . . . By turns lyrical and wrenching. . . . A rich, satisfying read.” —People
“A tender coming-of-age story . . . warmly delivered. . . . [Ondaatje’s] elegant prose is a pleasure.” —Minneapolis Star Tribune
“Eloquently told and heartbreakingly believable. . . . No other writer builds a world with the delicacy and precision of Michael Ondaatje. You enter it, fall under its spell and never want to leave.” —The Seattle Times
“Exquisite. . . . Elegant, melancholy. . . . Ondaatje keeps the reader in thrall to the story through the sheer excellence of his writing.” —The Dallas Morning News
“[A] quiet, lushly shaded and haunting novel. . . . Immensely rich and rewarding.” —Pittsburgh Post-Gazette
“Gorgeously written. . . . A fog of wonder, fear, tenderness and melancholy.” —Richmond Times-Dispatch
“Warlight is mesmerising, and powerfully sad. . . . This novel dives into the darkness, and finds small miracles among the shattered glass, the ruins.” —Financial Times
“A novel of shadowy brilliance.” —The Times (London)
“Wonderful. . . . This elegiac novel combines the stealth of an espionage thriller with the irresolute shifts of a memory play, purposefully full of fragments, loss and unfinished stories.” —The Daily Mail
“Surprising, delightful, heartbreaking and written as only Ondaatje could write it.” — Kamila Shamsie, The Guardian
“Majestic. . . . Show-stoppingly magnificent. . . . Golden? Adamantine.” —The New Statesman
“Mesmerizing. . . . One of Ondaatje’s most successful and satisfying novels.” —The Globe and Mail (Toronto)
“Irresistible. . . . An exceptionally entertaining literary journey.” —The Irish Times
“Compulsively and grippingly readable. . . . Michael Ondaatje is a marvellous writer, and Warlight is a novel which will continue to play in the reader’s imagination.” —The Scotsman
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Excerpted from Chapter 1
In 1945 our parents went away and left us in the care of two men who may have been criminals. We were living on a street in London called Ruvigny Gardens, and one morning either our mother or our father suggested that after breakfast the family have a talk, and they told us that they would be leaving us and going to Singapore for a year. Not too long, they said, but it would not be a brief trip either. We would of course be well cared for in their absence. I remember our father was sitting on one of those uncomfortable iron garden chairs as he broke the news, while our mother, in a summer dress just behind his shoulder, watched how we responded. After a while she took my sister Rachel’s hand and held it against her waist, as if she could give it warmth.
Neither Rachel nor I said a word. We stared at our father, who was expanding on the details of their flight on the new Avro Tudor I, a descendant of the Lancaster bomber, which could cruise at more than three hundred miles an hour. They would have to land and change planes at least twice before arriving at their destination. He explained he had been promoted to take over the Unilever office in Asia, a step up in his career. It would be good for us all. He spoke seriously and our mother turned away at some point to look at her August garden. After my father had finished talking, seeing that I was confused, she came over to me and ran her fingers like a comb through my hair.
I was fourteen at the time, and Rachel nearly sixteen, and they told us we would be looked after in the holidays by a guardian, as our mother called him. They referred to him as a colleague. We had already met him—we used to call him “The Moth,” a name we had invented. Ours was a family with a habit for nicknames, which meant it was also a family of disguises. Rachel had already told me she suspected he worked as a criminal.
The arrangement appeared strange, but life still was haphazard and confusing during that period after the war; so what had been suggested did not feel unusual. We accepted the decision, as children do, and The Moth, who had recently become our third-floor lodger, a humble man, large but moth-like in his shy movements, was to be the solution. Our parents must have assumed he was reliable. As to whether The Moth’s criminality was evident to them, we were not sure.
I suppose there had once been an attempt to make us a tightly knit family. Now and then my father let me accompany him to the Unilever offices, which were deserted during weekends and bank holidays, and while he was busy I’d wander through what seemed an abandoned world on the twelfth floor of the building. I discovered all the office drawers were locked. There was nothing in the wastepaper baskets, no pictures on the walls, although one wall in his office held a large relief map depicting the company’s foreign locations. Mombasa, the Cocos Islands, Indonesia. And nearer to home, Trieste, Heliopolis, Benghazi, Alexandria, cities that cordoned o the Mediterranean, locations I assumed were under my father’s authority. Here was where they booked holds on the hundreds of ships that travelled back and forth to the East. The lights on the map that identified those cities and ports were unlit during the weekends, in darkness much like those far outposts.
At the last moment it was decided our mother would remain behind for the final weeks of the summer to oversee the arrangements for the lodger’s care over us, and ready us for our new boarding schools. On the Saturday before he flew alone towards that distant world, I accompanied my father once more to the office near Curzon Street. He had suggested a long walk, since, he said, for the next few days his body would be humbled on a plane. So we caught a bus to the Natural History Museum, then walked up through Hyde Park into Mayfair. He was unusually eager and cheerful, singing the lines Homespun collars, homespun hearts, Wear to rags in foreign parts, repeating them again and again, almost jauntily, as if this was an essential rule. What did it mean? I wondered. I remember we needed several keys to get into the building where the office he worked in took up that whole top floor. I stood in front of the large map, still unlit, memorizing the cities that he would y over during the next few nights. Even then I loved maps. He came up behind me and switched on the lights so the mountains on the relief map cast shadows, though now it was not the lights I noticed so much as the harbours lit up in pale blue, as well as the great stretches of unlit earth. It was no longer a fully revealed perspective, and I suspect that Rachel and I must have watched our parents’ marriage with a similar awed awareness. They had rarely spoken to us about their lives. We were used to partial stories. Our father had been involved in the last stages of the earlier war, and I don’t think he felt he really belonged to us.
As for their departure, it was accepted that she had to go with him: there was no way, we thought, that she could exist apart from him—she was his wife. There would be less calamity, less collapse of the family if we were left behind as opposed to her remaining in Ruvigny Gardens to look after us. And as they explained, we could not suddenly leave the schools into which we had been admitted with so much difficulty. Before his departure we all embraced our father in a huddle, The Moth having tactfully disappeared for the weekend.
So we began a new life.
***
The Moth, our third-floor lodger, was absent from the house most of the time, though sometimes he arrived early enough to be there for dinner. He was encouraged now to join us, and only after much waving of his arms in unconvincing protest would he sit down and eat at our table. Most evenings, however, The Moth strolled over to Bigg’s Row to buy a meal. Much of the area had been destroyed during the Blitz, and a few street barrows were temporarily installed there. We were always conscious of his tentative presence, of his alighting here and there. We were never sure if this manner of his was shyness or listlessness. That would change, of course. Sometimes from my bedroom window I’d notice him talking quietly with our mother in the dark garden, or I would find him having tea with her. Before school started she spent quite a bit of time persuading him to tutor me in mathematics, a subject I had consistently failed at school, and would in fact continue to fail again long after The Moth stopped trying to teach me. During those early days the only complexity I saw in our guardian was in the almost three-dimensional drawings he created in order to allow me to go below the surface of a geometry theorem.
If the subject of the war arose, my sister and I attempted to coax a few stories from him about what he had done and where. It was a time of true and false recollections, and Rachel and I were curious. The Moth and my mother referred to people they both were familiar with from those days. It was clear she knew him before he had come to live with us, but his involvement with the war was a surprise, for The Moth was never “war-like” in demeanour. His presence in our house was usually signalled by quiet piano music coming from his radio, and his current profession appeared linked to an organization involving ledgers and salaries. Still, after a few promptings we learned that both of them had worked as “fire watchers” in what they called the Bird’s Nest, located on the roof of the Grosvenor House Hotel. We sat in our pyjamas drinking Horlicks as they reminisced. An anecdote would break the surface, then disappear. One evening, soon before we had to leave for our new schools, my mother was ironing our shirts in a corner of the living room, and The Moth was standing hesitant at the foot of the stairs, about to leave, as if only partially in our company. But then, instead of leaving, he spoke of our mother’s skill during a night drive, when she had delivered men down to the coast through the darkness of the curfew to something called “the Berkshire Unit,” when all that kept her awake “were a few squares of chocolate and cold air from the open windows.” As he continued speaking, my mother listened so carefully to what he described that she held the iron with her right hand in midair so it wouldn’t rest on and burn a collar, giving herself fully to his shadowed story.
I should have known then.
Product details
- ASIN : B0755ZDRBH
- Publisher : Vintage (May 8, 2018)
- Publication date : May 8, 2018
- Language : English
- File size : 1873 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 306 pages
- Best Sellers Rank: #137,262 in Kindle Store (See Top 100 in Kindle Store)
- #914 in Historical Literary Fiction
- #1,002 in Coming of Age Fiction (Kindle Store)
- #1,063 in War Fiction (Kindle Store)
- Customer Reviews:
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About the author

Michael Ondaatje is the author of several novels, as well as a memoir, a nonfiction book on film, and several books of poetry. Among his many Canadian and international recognitions, his novel The English Patient won the 1992 Man Booker Prize, was adapted into a multi-award winning Oscar movie, and was awarded the Golden Man Booker Prize in 2018; Anil’s Ghost won the Giller Prize, the Irish Times International Fiction Prize, and the Prix Médicis; and Warlight was longlisted for the 2018 Man Booker Prize. Born in Sri Lanka, Michael Ondaatje lives in Toronto.
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The writing is lovely, particularly when it comes to the description of natural phenomena -- rivers, dogs, brush; the descriptions are so evocative that you can practically small the settings. And there is a delicate awareness of how treacherous time can be, particularly our own efforts to assemble our own pasts. What I missed was characters who drew me in. In the first part, Nathaniel does this to a degree, and some of the subsidiary characters are vividly drawn. But in the second part, it all feels distant -- we observe Nathaniel trying to reconstruct things based on what other people choose to tell him. There is a sense of many layers between the truth (if there is one) and the observer. Life is indeed like that, but in this instance it puts some of the characters at such a distance that it is difficult to figure out what has happened to them, or indeed to care very much.
All in all the book is well worth reading, if not entirely satisfying.
For readers familiar with Michael Ondaatje’s distinctive style, it will come as no surprise that this story is not unveiled in a straightforward, linear way. The first half of the book concentrates on Nathaniel’s post-war life in the care of two men who may well be criminals, while the second part reconstructs his mother Rose’s wartime activities by way of the son’s mostly passive attempts to find the truth. Throughout the story, however, the author frequently shifts the perspective forward or backward in time and uses foreshadowing to create an effective sense of foreboding. He also introduces the reader to a dizzying array of different characters, all of whom have a purpose and figure into the ultimate resolution of the novel.
I have long been a big fan of Ondaatje’s work, as much for his poetic, lyrical writing style as for the intricate and engaging stories he tells. While Warlight did not quite approach the absolute best of what the author has produced in the past—The English Patient remains one of my very favorite novels—I nevertheless found it to be a highly enjoyable and thought-provoking reading experience. There is a great line that appears toward the end of the book that summarizes so much of what the story is about: “Do we eventually become what we are originally meant to be?” For both Rose and Nathaniel, this question is resolved, even if their respective answers are not the ones they might have wanted.
Top reviews from other countries

WARLIGHT may be set in the past, but it is supremely relevant to our own age, where the truth has become more slippery than ever.



Nathaniel's clinging on to the past and trying to relive it only makes me remember about my childhood memories that I've never forgotten- even in all current positives and negatives.
I thoroughly enjoyed this drama and it has left a long after-effect on me... like all good read should.
