The Artist of Disappearance

by Anita Desai

The Artist of Disappearance

Paperback, 156 pages, Mariner Books, List Price: $13.95 | purchase

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Hardcover, 156 pages, Houghton Mifflin Harcourt, $23, published December 6 2011 | purchase
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Book Summary

Set in modern India, these three novellas move beyond the cities to places still haunted by the past, and to characters who are, each in their own way, masters of self-effacement. An unnamed government official is called upon to inspect a faded mansion of forgotten treasures where he discovers a surprise "relic." A translator blurs the line between writer and translator, and in so doing risks unraveling her desires and achievements. In the title novella, a hermit hidden away in the woods with a secret is discovered by a film crew, which compels him to withdraw even further until he magically disappears.

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Portraits Of An Artist, A Correspondent, 'Gossip,' And The 'Piano'

Anita Desai has written more than a dozen novels and collections, and has been shortlisted three times for the Booker Prize. Her collection of stories, The Artist of Disappearance, reads a bit like three symphonic movements in a minor key. The three novellas are set in modern India, where the past is giving way. In one story, a government official inspects the forgotten treasures left behind in a fated mansion. In another story, a translator becomes a little too creative; and in the

Note: Book excerpts are provided by the publisher and may contain language some find offensive.

Excerpt: The Artist of Disappearance

We had driven for never-ending miles along what seemed to be more a mudbank than a road between fields of viru lent green — jute? rice? what was it this benighted hinter - land produced? I ought to have known, but my head was pounded into too much of a daze by the heat and the sun and the fatigue to take in what my driver was telling me in answer to my listless questions.

The sun was setting into a sullen murk of ashes and embers along the horizon when he turned the jeep into the circular driveway in front of a low, white bungalow. This was the circuit house where I was to stay until I had found a place of my own. As a very junior officer, a mere subdivisional officer in the august government service, it was all I could expect, a temporary place for one of its minor servants. There was nothing around but fields and dirt roads and dust, no lights or signs of a town to be seen. Noting my disappointment and hesitation at the first sight of my new residence — where had we come to? — the driver climbed out first, lifted my bags from the back of the jeep and led the way up the broad steps to a long veranda which had doors fitted with wire screens one could not see through. He clapped his hands and shouted, 'Koi hai?' I had not imagined anyone still used that imperious announcement from the days of the Raj: Anyone there? But perhaps, in this setting, itself a leftover from the empire, not so incongruous at all. Besides, there was no bell and one cannot knock on a screen door.

I didn't think anyone had heard. Certainly no light went on and no footsteps were to be heard, but in a bit someone came around the house from the back where there must have been huts or quarters for servants.

'I've brought the new officer-sahib,' the driver announced officiously (he wore a uniform of sorts, khaki, with lettering in red over the shirt pocket that gave him the right). 'Open a room for him. And switch on some lights, will you?'

'No lights,' the man replied with dignity. He wore no uniform, only some loose clothing, and his feet were bare, but he held his back straight and somehow established his authority. 'Power cut.'

'Get a lantern then,' the driver barked. He clearly enjoyed giving orders.

I didn't, and was relieved when the chowkidar — for clearly he was the watchman for all his lack of a uniform — took over my bags and the driver turned to leave. It was night now, and when I saw the headlights of the jeep sweep over the dark foliage that crowded against the house and lined the driveway, then turn around so that the tail lights could be seen to dwindle and disappear, I felt my heart sinking. I did not want to stay in this desolate place, I wanted to run after the jeep, throw myself in and return to a familiar scene. I was used to city life, to the cacophony of traffic, the clamour and din and discordancy of human voices, the pushing and shoving of humanity, all that was absent here.

While I stood waiting on the veranda for a lamp to be lit so I could be shown to my room, I listened to the dry, grating crackle of palm leaves over the roof, the voices of frogs issuing low warnings from some invisible pond or swamp nearby, and these sounds were even more disquieting than the silence.
A lighted lantern was finally brought out and I followed its ghostly glow in, past large, looming pieces of furniture, to the room the chowkidar opened for me. It released a dank odour of mildew as of a trunk opened after a long stretch of time and a death or two, and I thought this was surely not a chapter of my life; it was only a chapter in one of those novels I used to read in my student days, something by Robert Louis Stevenson or Arthur Conan Doyle or Wilkie Collins (I had been a great reader then and secretly hoped to become a writer). I remembered, too, the hated voice of the gym master at school shouting 'Stiffen up now, boys, stiffen up!' and I nearly laughed — a bitter laugh.

All the actions that one performs automatically and habitually in the real world, the lighted world — of bathing, dressing, eating a meal — here had to be performed in a state of almost gelid slow motion. I carried the lantern into the bathroom with me — it created grotesquely hovering shadows rather than light, and made the slimy walls and floor glisten dangerously — and made do with a rudimentary bucket of water and a tin mug. To put on a clean set of clothes when I could scarcely make out what I had picked from my suitcase (packed with an idiotic lack of good sense: a tie? when would I ever wear a tie in this pit?) and then to find my way to the dining room and sit down to a meal placed before me that I could scarcely identify — was it lentils, or a mush of vegetables, and was this whitish puddle rice or what? — all were manoeuvres to be carried out with slow deliberation, so much so that they seemed barely worthwhile, just habits belonging to another world and time carried on weakly. The high-pitched whining of mosquitoes sounded all around me and I slapped angrily at their invisible presences.

Then, with a small explosion, the electricity came on and lights flared with an intensity that made me flinch. An abrupt shift took place. The circuit house dining room, the metal bowls and dishes set on the table, the heavy pieces of furniture, the yellow curry stains on the tablecloth all revealed themselves with painful clarity while the whine of mosquitoes faded with disappointment. Now large, winged ants insinuated their way through the wire screens and hurled themselves at the electric bulb suspended over my head; some floated down into my plate where they drowned in the gravy, wings detaching themselves from the small, floundering worms of their bodies.

I pushed back my chair and rose so precipitately, the chowkidar came forward to see what was wrong. I saw no point in telling him that everything was. Instructing him abruptly to bring me tea at six next morning, I returned to my room. It felt like a mercy to turn off the impudent light dangling on a cord over my bed and prepare to throw myself into it for the night.

From The Artist of Disappearance by Anita Desai. Copyright 2011 by Anita Desai. Excerpted by permission of Houghton Mifflin Harcourt.

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