Hear the cry in the tropic night
Should be the cry of love but it’s a cry of fright
Some people never see the light
‘Til it shines through bullet holes
Bruce Cockburn, Tropic Moon
Ceylon was a beautiful country until it filled up with savages.
Shehan Karunatilaka
You forget what you want to remember and you remember what you want to forget.
Cormac McCarthy, The Road
Reading The Seven Moons of Maali Almeida, the 2022 Booker Prize winning second novel by Sri Lankan author Shehan Karunatilaka, one can appreciate why thousands of his compatriots have taken to the sea in small boats and braved the Indian Ocean to reach Australia. It is the story of a dissolute war photographer and gambler set in the early years of the civil war which raged across the island of Sri Lanka from 1983 to 2009 claiming up to 100,000 lives with untold missing and injured, most of them ethic Tamils like those desperate seafarers who head our way only to be turned back or else incarcerated in offshore detention camps.
The war in Sri Lanka in which the Sri Lankan government, dominated by the Buddhist Sinhalese , aided by India “peacekeepers” fought brutal Marxist insurgents and ethnic Tamil Hindu separatists, lasted for 26 years, ending in 2009 with the defeat and lasting bitterness of the separatist Tamil Tigers.
The book is set in 1989, which Karunatilaka has described as “the darkest year in my memory, when there was an ethnic war, a Marxist uprising, a foreign military presence and state counter-terror squads”.
Only a few years earlier there had been a wave of state sponsored pogroms of Tamils in the north and east of the island, but terror took many forms. The character of Maali was inspired by Richard de Zoysa, a gay middle-class activist whose murder in 1990 has never been solved. Many journalists also went missing; one editor was gunned down in the street.
The Seven Moons is a war-story told with a mordant humour reminiscent of Joseph Heller’s Catch 22 and Kurt Vonnegut’s Slaughterhouse Five and in many ways, Thomas Pynchon’s Gravity’s Rainbow. Others have likened it to the writing if Gabriell Garcia Marquez and Salman Rushdie, whilst Karunatilaka indeed acknowledges an “uncle Kurt”, and Kurt Vonnegut’s MO, the methodical chaos, is a constant.
But it is more than a war story. It is in fact a ghost story, yet, it is just as much a political satire, a love story and a steamy wallow in the slums and fleshpots of Sri Lanka’s capital Colombo: the fetid streets of the city, where the death squads roam … a stinking city, where deeds go unpunished and ghosts walk unseen. And all is framed within a murder mystery. And to my mind, an idiosyncratic treatise about reincarnation. I don’t want to go back. Don’t want to be reborn. Don’t want to be anything. Can I just be nothing?
Sinhalese Maali Almeida, beautiful, smart, gay and arrogant, and an incorrigible libertine, suddenly wakes up dead, presumed murdered – one of thousands who perished at the hands of others during those years – and is not too clear about the circumstances. He finds himself in a kind half world populated by the ghosts of the departed, ghouls and demons, and has seven “moons” or nights to decide whether he wishes to enter “into the light “, a peaceful and memory-free afterlife, or remain earthbound for eternity as a ghost who is “blown on the winds” or a sentient ghoul who rides them. Accompanied by a mentor who resembles a grotesque disneyesque guide, all street wisdom and wisecracks, he resolves to guide the two people he loves, his boyfriend and his platonic girlfriend, to the secrets that will unmask his killers and exact revenge for the carnage that they have wreaked upon their country.
The novel is simultaneously harrowing and mordantly humorous, written with such lyrical panache that I couldn’t resist writing down a swag of memorable lines. Apart from those quoted above, here are others.
Some are are philosophical and existential:
Do animals get an afterlife. Or is their punishment to be reborn as human
Every soul is allowed seven moons to wander the In Between. To recall past lives. And then to forget. They want you to forget. Because, when you forget, nothing changes …
Nothing is forgotten. We just don’t know where we put it.
Why are we born, why do we die, why anything has to be.and all the universe has to say in reply is: I don’t know, asshole, stop asking.
You have one response for those who believe Colombo to be overcrowded: wait till you see it with ghosts
You know the trouble with karma, boss? The assumption is that everything is in its right place. So we do nothing abd let karma takes its course. It’s as pointless as saying “Inshallah”
You believed that no harm would reach you , because you were protected, not by angels, but by the law’s of probability, which states that really bad things happened not very often, except when they did.
Others could be described as socio-political:
Evil is not what we should fear, Creatures with power in their own interest: that is what should make a us shudder. How else to explain the worlds madness?
Everyone is proud and greedy and no one can decide things without money changing hands or fists being raised.
The World will not correct itself. Revenge is your right.
Even do-gooders have their agendas.
I make what most of the world’s millionaires do not … Enough.
Why is Sri Lanka number one in suicides? … Are we that much more sadder or violent than the rest of the world? It’s because we have just the right amount of education to understand that the world is cruel. And just enough corruption in equality, to feel powerless against it.
You look up at the giant chimney, spewing black smog towards the heavens, where the stars look away and the gods refuse to hear.
… dismissed as yet another lost cause that began with good intentions.
… you … wonder if one day they will invent a bomb that knew whom to spare. The one good thing you can say about a bomb is that it isn’t racist or sexist or concerned about class.
© Paul Hemphill 2023 All rights reserved
See also in In That Howling Infinite, Better Read Than Dead – books and reading
It’s obvious why this novel won the Booker Prize
What if the Afterlife were a bureaucracy? What if you had to stand in line with all those other ghosts, aka The Dead, and had to fill in forms and have various checks on your body – assuming you have an intact body – before you can move on to the Eternal Light.
Shehan Karunatilaka sets his 2022 Booker-winning The Seven Moons of Maali Almeida exactly here. He said recently that Sri Lankans are used to living in a bureaucracy that extends into most details of their lives so why not in the Afterlife as well? The witty Ministry of The Afterlife both carries and demonstrates the humour of the entire novel.
Not that there is anything novelistically new about this holding pen; George Saunders’ Lincoln in the Bardo, Steve Toltz’s Here Goes Nothing and, my choice, Elif Shafik’s Ten Minutes, Thirty Eight Seconds in this Strange World, laid some groundwork. “Bardo” is the most useable, less-cliched version of this world. It is the Tibetan word for an interim, provisional world where the dead must wait before rebirth, so there’s a bit of movement between worlds possible. Karunatilaka has acknowledged Saunders’ brilliant novel as an influence, but his bureaucracy is his own brilliant invention. Karunatilaka also acknowledges an “uncle Kurt”, and Kurt Vonnegut’s MO, the methodical chaos, is a constant.
There is a plot: it is 1989, the height of the complex and brutal civil war in Sri Lanka and Maali, beautiful, smart, arrogant finds himself dead, in line with other recent dead, waiting to be moved on. He is only 34. In life, he is a photojournalist, well-connected and keen to report to the world everything he knows and how he has seen it. He is not an idealist, but he is open to new ideas and often “in the wrong place holding a camera”. He is also gay and closeted at the height of the HIV-AIDS epidemic.
At first, he doesn’t believe he’s dead, he has taken too many “silly” drugs and just has to let them wear off, and besides, he cannot remember dying. If he can’t remember that in this gruesome dream then his death can’t be true. The purgatorial scenes alone would win Karunatilaka the Booker.
When Maali understands that this pandemonium is not a dream he decides he has to find out what happened to him and the novel becomes a murder mystery fully lined with political and social comment/satire. His main thought is that he has a box of photographs under a bed that political people on every side would want. Was he murdered for these images? He has one week to find out.
He also has other reasons to return to the upper world: “You listen to the wind and think of all the things you never understood. ‘My friends. My mother. I have to see them’.” He particularly needs to tell the young man who loves him “that he is sorry”. Sorry for what turns out to be a terrible thread. It is this poignancy, the ability Maali has to reflect on the beauty of life, that elevates the writing.
“Over a short and useless existence, you examined evidence and drew conclusions. We are a flicker of light between two long sleeps. Forget the fairy tales of gods and hells and previous births. Believe in odds and in fairness and in stacking decks that are already stacked, in playing your hand as best you can for as long as you can. You were led to believe that death was sweet oblivion and you were wrong on both counts.”
This is Karunatilaka’s second novel, although it was previously published under a different title and in a different form in India. During the pandemic he has been working on this re-titled version with his wider audience in mind. These alterations and insertions mean that the chaos and bastardy of the times that were esoterically Sri Lankan are explained in moments of drawing breath between the hurtling story. It is told entirely in the second person, a difficult stylistic device.
It has the bleak power of Solzhenitsyn’s The Gulag Archipelago. And unlike that great book it is relentlessly, shockingly funny. Apparently, Sri Lankans are renowned for their magnificent grim humour. This novel explains why they need it. The dead are speaking here and there is nothing they cannot say
Life after death in Sri Lanka
Tomiwa Owolade, The Guardian 9 Aug 2022
His Booker-longlisted state-of-the-nation satire, The Seven Moons of Maali Almeida, returns to 1980s Sri Lanka, and similarly has a debauched protagonist. Maali, the son of a Sinhalese father and a burgher mother, is an itinerant photographer who loves his trusted Nikon camera; a gambler in high-stakes poker; a gay man and an atheist. And at the start of the novel, he wakes up dead.
He thinks he has swallowed “silly pills” given to him by a friend and is hallucinating. But no: he really is dead, and seemingly locked in an underworld. It’s no Miltonian pandemonium; for him, “the afterlife is a tax office and everyone wants their rebate”. Other souls surround him, with dismembered limbs and blood-stained clothes; and they are incapable of forming an orderly queue to get their forms filled in. Many of the people he meets in this bleakly quotidian landscape are victims of the violence that plagued Sri Lanka in the 80s, including a Tamil university lecturer who was gunned down for criticising militant separatist group the Tamil Tigers. The novel also depicts the victims of Marxist group the Janatha Vimukthi Peramuna , or People’s Liberation party, who similarly waged an insurrection against the Sri Lankan government, and killed many leftwing and working-class civilians who got in their way.
Maali is a witness to the brutality of the insurrections in Sri Lanka. Working for newspapers and magazines, his ambition is to take photographs “that will bring down governments. Photos that could stop wars.” He has shot “the government minister who looked on while the savages of ’83 torched Tamil homes and slaughtered the occupants”, and taken “portraits of disappeared journalists and vanished activists, bound and gagged and dead in custody”.
Those photos are stored underneath a bed in his family home. Now, stuck in the underworld, he has only seven moons – one week – to get in contact with his friend Jaki and her cousin, persuade them to retrieve the stash of photos, and share them throughout Colombo, Sri Lanka’s largest city, in order to expose the profoundly violent nature of the conflict. It’s explained to Maali that “every soul is allowed seven moons to wander the In Between. To recall past lives. And then, to forget. They want you to forget. Because, when you forget, nothing changes.” Maali doesn’t want his contribution as a witness to be consigned to oblivion. His own death has viscerally exposed to him the fragility of life, and the photos constitute his legacy for his country and a defence against collective amnesia.
The Seven Moons of Maali Almeida is written in the second person, which gives the narrative a slightly distancing effect, but it’s compensated for by the sardonic humour. In one passage, the narrator muses: “You have one response for those who believe Colombo to be overcrowded: wait till you see it with ghosts.” Another asks: “Do animals get an afterlife? Or is their punishment to be reborn as human?” Another compelling feature is the vivid use of similes: one man’s battered body is described as having ribs caved in “like a broken coconut”.
The obvious literary comparisons are with the magical realism of Salman Rushdie and Gabriel García Márquez. But the novel also recalls the mordant wit and surrealism of Nikolai Gogol’s Dead Souls or Mikhail Bulgakov’s The Master and Margarita. The scenarios are often absurd – dead bodies bicker with each other – but executed with a humour and pathos that ground the reader. Beneath the literary flourishes is a true and terrifying reality: the carnage of Sri Lanka’s civil wars. Karunatilaka has done artistic justice to a terrible period in his country’s history.