The Cat's Table

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The Cat's Table

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Editorial Reviews

From Barnes & Noble

Michael Ondaatje's richly charactered new novel begins at "the cat's table" of the Oronsay, where 11-year narrator Michael and his divorced mother share meals and the company of others as they journey from Sri Lanka to England. As the ship cuts its path on the high seas, young Michael and his youthful mealtime friends plot freewheeling adventures onboard. In quieter moments, he seeks the counsel and company of his warm-hearted older cousin Emily. Only later, when he jolts forward into adulthood do all the implications of this adolescent journey play out on his personality. Another artful, nuanced novel by the author of Anil's Ghost and the Booker Award-winning novel The English Patient.

Liesl Schillinger
…mesmerizing…As he did in his great 1992 novel, The English Patient…Ondaatje conjures images that pull strangers into the vivid rooms of his imagination, their detail illumined by his words.
—The New York Times Book Review
Ron Charles
The feline quality of Michael Ondaatje's The Cat's Table will appeal to anyone who wants to curl up with a playful novel that can bite…lithe and quietly profound: a tale about the magic of adolescence and the passing strangers who help tip us into adulthood in ways we don't become aware of until much later.
—The Washington Post
Janet Maslin
…this lovely, shimmering book…is a tender meditation on how a child can be "smuggled away accidentally, with no knowledge of the act, into the future"…Mr. Ondaatje succeeds so well in capturing the anticipation and inquisitiveness of boyhood…
—The New York Times
Publishers Weekly
In Ondaatje’s best novel since his Booker Prize–winning The English Patient, an 11-year-old boy sets off on a voyage from Ceylon to London, where his mother awaits. Though Ondaatje tells us firmly in the “Author’s Note” that the story is “pure invention,” the young boy is also called Michael, was also born in Ceylon, and also grows up to become a writer. This air of the meta adds a gorgeous, modern twist to the timeless story of boys having an awfully big adventure: young Michael meets two children of a similar age on the Oronsay, Cassius and Ramadhin, and together the threesome gets up to all kinds of mischief on the ship, with, and at the expense of, an eccentric set of passengers. But it is Michael’s older, beguiling cousin, Emily, also onboard, who allows him glimpses of the man he is to become. As always, Ondaatje’s prose is lyrical, but here it is tempered; the result is clean and full of grace, such as in this description of the children having lashed themselves to the deck to experience a particularly violent storm: “our heads were stretched back to try to see how deep the bow would go on its next descent. Our screams unheard, even to each other, even to ourselves, even if the next day our throats were raw from yelling into that hallway of the sea.” (Oct. 7)
From the Publisher
The Cat’s Table is just as skillfully wrought as Ondaatje’s magnum opus The English Patient, but its picaresque childhood adventure gives it a special power and intimacy . . . He is a master at creating characters, whom he chooses to present, memorably, as individuals. This choice is of a piece with the freshness and originality that are the hallmarks of The Cat’s Table.”
Wall Street Journal
“A joy and a lark to read . . . Within a few pages of the book’s opening, The Cat’s Table has done a miraculous thing—it has ceased to be a book, or even a piece of art. It is merely a story, unfolding before the reader’s eyes, its churning motor a mystery about what it is exactly that happened on this boat . . . Told in short bursts of exposition so beautiful one actually feels the urge to slow the reading down, the novel shows us how the boy assembles the man.”
Boston Globe
The Cat’s Table is an exquisite example of the richness that can flourish in the gaps between fact and fiction . . . Ondaatje has an eerily precise grasp of the immediacy of a child’s world view, and an extraordinary sense of individual destiny . . . It is an adventure story, it is a meditation on power, memory, art, childhood, love and loss. It displays a technique so formidable as to seem almost playful. It is one of those rare books that one could reread an infinite number of times, and always find something new within its pages.”
Evening Standard (UK)
“This book is wonderful, offering all the best pleasures of Ondaatje’s writing: his musical prose, up-tempo; his ear for absurd, almost surreal dialogue, which had me laughing out loud in public as I read; his admiration for craftsmanship and specialized language in the sciences and the trades; and his sumptuous evocations of sensual delight . . . In many ways, this book is Ondaatje’s most intimate yet.”
Globe and Mail (Canada)

“A treasure chest of escapades from a pitch-perfect writer, an immaculate observer of the dance of humans, giving us an intoxicating mix of tenderly rendered boy’s eye perspective and the musings of the older narrator looking back on this intensely formative voyage . . . It is a classic, perfect premise for a novel packed with possibilities. Put it in the hands of one of the most subtle and surprising masters of world writing, Michael Ondaatje, and unalloyed joy lies latent in every sentence and sensuous quirk of the narrative. This is simply blissful storytelling . . . Think the seafaring Joseph Conrad, with an invigorating infusion of Treasure Island, a touch of Mark Twain.”
The Scotsman (UK)

“Ondaatje’s best novel since his Booker Prize–winning The English Patient . . . [An] air of the meta adds a gorgeous, modern twist to the timeless story of boys having an awfully big adventure . . . As always, Ondaatje’s prose is lyrical, but here it is tempered; the result is clean and full of grace.”
Publishers Weekly (starred)
“A graceful, closely observed novel that blends coming-of-age tropes with a Conradian sea voyage . . . Beautifully detailed, without a false note: It is easy to imagine, in Ondaatje’s hands, being a passenger in the golden age of transoceanic voyaging, amid a sea of cocktail glasses and overflowing ashtrays, if in this case a setting more worthy of John le Carré than Noel Coward . .  . Elegiac, mature, and nostalgic—a fine evocation of childhood, and of days irretrievably past.”
Kirkus Reviews (starred)
“Ondaatje is justly recognized as a master of literary craft . . . The novel tells of a journey from childhood to the adult world, as well as a passage from the homeland to another country, something of a Dantean experience.”
—Annie Proulx, The Guardian (UK)
“Ondaatje’s wondrous prose feels more alive to the world than ever before . . . This is a simpler story, more simply told, than Ondaatje has accustomed his readers to . . . Yet The Cat’s Table is no less thrilling in its attempts to capture beauty in its various and terrifying forms.”
Financial Times (UK)
“Richly enjoyable, often very funny, and gleams like a really smart liner on a sunny day . . . The magic of this fine book is in the strange inventiveness of its episodes. Ondaatje is really the master of incident in the novel, and the enchantments wash over the reader in waves . . . The beauty of Ondaatje’s writing is in its swift accuracy; it sings with the simple precision of the gaze.”
Daily Telegraph (UK)
The Cat’s Table is Ondaatje’s most accessible, most compelling novel to date. It may also be his finest . . . Ondaatje’s prose is, as always, stunning . . . The Cat’s Table is a breathtaking account not only of boyhood, but of its loss. It is a novel filled with utterly unique characters and situations, but universal in its themes, heartbreakingly so, and a journey the reader will never forget.”
Vancouver Sun (Canada)

“An eloquent, elegiac tribute to the game of youth and how it shapes what follows . . . One of the strengths of the novel is the sheer brilliance of characterization on show. The bit players on board the Oronsay are almost Dickensian in their eccentricity and lovability . . . In The Cat’s Table, he has not only captured with acute precision the precarious balance of his characters’ existence on the move but also the battle that adults wage for the retention of the awe and wonder they once took for granted in their childhood. Ultimately, Ondaatje has created a beautiful and poetic study hre of what it means to have your very existence metaphorically, as well as literally, all at sea.”
Independent on Sunday (UK)
“A novel superbly poised between the magic of innocence and the melancholy of experience.”
Economist (UK)
“Is there a novelist who writes more compellingly about tenderness than Ondaatje? . . . The Cat’s Table is a voyage of discovery for the reader as well as for its narrator. I loved the book, was dazzled by its language, and looked forward to turning each page to learn what would happen next.”
Montreal Gazette (Canada)
The Cat’s Table deserves to be recognized for the beauty and poetry of its writing: pages that lull you with their carefully constructed rhythm, sailing you effortlessly from chapter to chapter and leaving you bereft when forced to disembark at the novel’s end.”
Sunday Telegraph (UK)

“So enveloping and beautifully rendered, one is reluctant to disembark at the end of the journey . . . The best novels and poetry possess a kind of bottomlessness: each time a reader revisits a masterful work, she finds something new. Though the ocean journey in The Cat’s Table lasts a mere 21 days, it encapsulates the fullness of a lifetime. This reader will undoubtedly return to it and unearth new treasures from its depths.” ­ 
Quill and Quire (Canada)

Library Journal
"The journey was to be an innocent story within the small parameter of my youth," says the narrator of his voyage aboard the Oronsay, which carried him through the Indian Ocean to England and his divorced mother. But for 11-year-old Michael, things shift from the moment he is seated at "the cat's table," the least propitious spot in the dining room. Michael enjoys wild escapades with the two other boys at the table, quiet Ramadhin and hell-raiser Cassius, while befriending the mismatched adults at his table as well as his card-playing roommate, who tends the ship's kennels. Others on board include Michael's older cousin Emily, who takes up with the magnetic head of a performing troupe while protecting a deaf and frail-looking girl named Asuntha, and a heavily chained prisoner. The relationship among these four characters precipitates crisis, but we're not led to it systematically; instead, Booker Prize winner Ondaatje (Anil's Ghost) flashes forward to Michael as an adult, showing us how unwittingly we lose our childhood innocence and how that loss comes to affect us much, much later. VERDICT Writing in a less lyrically wrought style than usual, Ondaatje turns in a quietly enthralling work. Highly recommended. [See Prepub Alert, 4/4/11.]—Barbara Hoffert, Library Journal
The Barnes & Noble Review

"Who realizes how contented feral children are?"

In Michael Ondaatje's seventh novel, three boys run unsupervised through paradise, as attracted to evil as it is to them. Hannah Arendt's insight notwithstanding, the evil they encounter turns out to be exotic, not banal. However, because The Cat's Table recounts a 1954 voyage to London from the island formerly known as Ceylon, in an era when an English ship's upper echelons wouldn't have begun to acknowledge cruelties inflicted by racial and social class prejudice, it's hard for the narrator to see that evil exists in any form but that of the institutional: wealthy white passengers and the ship's officers who do their bidding. The title refers to Table 76, where eleven-year-old Michael is assigned to eat, along with two other boys, Cassius and Ramadhin; a washed-up jazz piano player; a botanist transporting poisonous and medicinal plants; a retired ship dismantler; a silent tailor; and Miss Lasqueti, pale, peculiar, in possession of a laugh "that hinted it had rolled mud."

The Cat's Table is the inverse of the Captain's Table, "the least privileged place." Cassius, who is instinctively democratic -- "I never saw him side with anyone in power" -- embraces the invisibility lack of status endows. No one notices the boys unless they're swimming in the First Class pool or have lashed themselves to the deck to witness a storm and require rescue. So they inhabit shadows and "see through the layers of authority." Secrets unveil themselves. Michael's cousin Emily trysts with a Singhalese magician. A shackled prisoner exercises by moonlight: "He is said to have killed a judge." Even Miss Lasqueti, skeptical about justice as it applies to Ceylon, warns Michael not to romanticize the prisoner: "He's probably not the sweetest chocolate in the box."

These details describe just the frame of the novel. The Cat's Table tells two stories. One is Michael's linear coming-of-age story, which reads, by itself, like a renovated version of "Billy Budd." Embedded within this narrative are scenes that report, in collage fashion, what's happened in London and Canada years after the end of the journey. Many novels contain both a framing story and embedded story, and they generally use separate genre conventions for each -- for instance, the framing story might be subtly realistic and the embedded story mythic, fabulous. The structure of The Cat's Table is unusual, though, in that that both the story about the childhood voyage as well as the story about the adults' later lives in London and Canada are mostly realistic, until the very last pages, when both stories suddenly produce old-fashioned climaxes and revelations.

This sense of realism is more pronounced because Ondaatje's methods blur the line between fiction and memoir. The novel's narrator shares a name with the author, who was raised in Ceylon, and the adult Michael, like the author, lives in Canada and publishes books. Moreover, the prologue begins in the novelistic third person ("[H]e climbed aboard the first and only ship of his life..." ) but abandons this for the more autobiographical first person ("I wonder who he was, this boy...this green grasshopper") and finally narrates in first person from such a temporal distance that the novel reads like one of those memoirs written by a retired British peer ("It is only now, years later, having been prompted by my children to describe this voyage...").

And most of the novel mimics life's lack of plot, too. Character sketches seem to accrue in a merely serial way. In life, we travel expecting to meet fellow passengers and part unchanged, and yet we read novels expecting the protagonist to meet fellow passengers and find his future altered by them. The bulk of The Cat's Table avoids this familiar arc. Pending its long-delayed finale, it records charming, ostensibly random scraps of eavesdropping: "I asked him, 'How can it be an aphrodisiac and a laxative?' And he said, 'Well, it's all in the timing.' " Like a classic modernist novel, then, most of The Cat's Table works at resembling the disorderliness of experience, life's accidents and caprices, shunning plot's patterns and purpose. Slow and stately, it seems to sail to a stop, not to fruition. Then the final pages kick in, employing plot contrivances at breakneck speed: thematic accords and previously concealed character interidentities that rival those found in Dickens, and a (melo)dramatic cloak-and-dagger climax achieved by sleight of hand, as well as a potent concoction that induces hypnotized obedience followed by amnesia -- effects as conveniently sequenced as those produced by an aphrodisiac that later works as a laxative.

Old-fashioned plot machinations not only produce a tidy, yet manic climax for the childhood story but for the contemporary story, too, where they strain credulity less elegantly. Ayurvedic medicine can't justify the startling discoveries that take place in London and Canada, or the arrival of an especially implausible letter from a long-lost shipboard acquaintance, a letter so detailed it reads like an excerpt from a Victorian novel. In the final scenes, Michael and Emily hash out the what-must- have-happened like a detective and sidekick, or perhaps a therapist and patient exploring recovered memories.

Quibbles aside, The Cat's Table is a wildly ambitious novel that bravely depicts not just the prosaic, institutionalized version of evil- colonial privilege-but also the moral blindness that sometimes came in its wake, lapses of judgment originating in sympathetic identification with fellow insignificants, the least privileged and most maligned. In fairy tales, captors are evil and victims are virtuous. In life, however, victims have often been schooled in terror, so they're sometimes amoral, willing to sacrifice innocents. Or perhaps any cross-section of humanity includes its portion of sadists. Ondaatje give us a portrait of prejudice -- and a portrait of fatally careless reactions to prejudice, too. He also gives us two sets of storytelling conventions: the most modern and least enchanted storytelling conventions, and the most ancient and magical. If the seam between these modes of storytelling is ragged, even glaringly conspicuous, the seam between a mid-twentieth-century childhood lived in the fragrant garden of Boralesgamuwa and an adult life lived afterward in England and Canada is glaringly conspicuous, as well, a seam closing over a gap between cultures so incompatible that a ship's passage across it isn't a journey leading toward adventure but diminishment. The adult Michael reflects: "Grandeur had not been added to my life...but taken away."

Debra Monroe, winner of the Flannery O'Connor Award, is the author of four books of fiction and one memoir, On the Outskirts of Normal: Forging a Family Against the Grain. Reviewer: Debra Monroe

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Product Details

  • ISBN-13: 9780307744418
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 6/12/2012
  • Series: Vintage International Series
  • Pages: 288
  • Sales rank: 136,233
  • Product dimensions: 5.32 (w) x 7.82 (h) x 0.86 (d)

Meet the Author

Michael Ondaatje
Michael Ondaatje

Michael Ondaatje is a novelist and poet who lives in Toronto, Canada. He is the author of In The Skin of a Lion, Coming Through Slaughter, and The Collected Works of Billy the Kid; two collections of poems, The Cinnamon Peeler, There's a Trick with a Knife I'm Learning to Do; and a memoir, Running in the Family. He received the Booker Prize and the Governor General's Award in Canada for The English Patient.

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Reading Group Guide

The questions, discussion topics, and reading list that follow are intended to enhance your reading group’s discussion of The Cat’s Table, the luminous new novel by Michael Ondaatje, Booker Prize–winning author of The English Patient.
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Customer Reviews

Average Rating 4
( 81 )
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See All Sort by: Showing 1 – 20 of 81 Customer Reviews
  • Posted September 24, 2011

    more from this reviewer

    Intriguing Literature - A Very Good Read

    "The Cat's Table" by Michael Ondaatje is an intriguing novel. Like fish to bait, I was drawn to Ondaatje's series of innocuous vignettes that fleshed out a plot and bit by bit teased out the characters in bite-sized chunks.

    This deeply affecting and multilayered story orbits around three boys cruising from Sri Lanka to England in the early 1950s. The primary character, Michael (although we only find out his name 50 or so pages in), is traveling on his own to meet his Mother. He and two other boys, Cassius and Ramidhan, have the run of the ship as the reader is taken on a tour of their mostly (but not exclusively) insignificant trouble making and mischief. In Michael's own words, "...the fact that I was on my own...was itself an adventure. I had no family responsibilities. I could go anywhere, do anything. Each day we had to do at least one thing that was forbidden."

    One cannot help but read the coming-of-age theme built around the 11-year old Michael. The theme might seem cliched, but Ondjaatje's deft mastery of language and his manipulation of plot is what distinguishes this as literature rather than mere fiction.

    The trip was an opportunity to observe and orbit around an adult world while still playing the part of a child. He says, "We were learning about adults simply by being in their midst. We felt patterns emerging..." And if to underline the cruise's metaphorical transportation from Michaels' childhood into his adulthood, he finds himself in front of a mirror and narrates, "It was the image of my youth that I would hold on to for years--someone startled, half formed, who had not become anyone or anything yet."

    We are introduced to a smattering of other characters throughout the story: Michael's cousin Emily, Ramadhin's sister Massi, and the very enigmatic man in chains - a prisoner who's allowed on deck for only a short while each night. It's the well-paced and dramatic unraveling of the prisoner's story that creates one of the signature "Ah-Ha!" moments in the novel. Much of the last third of the book occurs in Michael's present where Ondaatje focuses on his growth, the transformation of his relationships with those from the ship, and his synthesis of his past and present. And like real life, not all conclusions are neatly packaged.

    Throughout the novel, there are hints at where the story is leading. Some of the hints abruptly foreshadow plot lines. Some hints aren't quite recognizable until the initial plot thread becomes knotted with a related thread farther along in the book.

    Through most of the interactions on the ship, Ondaatje writes very short chapters creating almost movie-like quick-cuts from scene to scene. I realized that this is how memories work. Usually, one doesn't remember an entire day, but rather moments that have burned into one's memory through the intensity of the experience. I believe that Ondaatje wrote these scenes very purposefully. First, to create very succinct and clear threads that, over time, flesh out Michael's experiences. Second, these flash memories become part of the story itself. They create a pace and expectation on behalf of the reader that propels his experience with the characters.

    Michael reflects on the stories of his life, which are in essence, a unification of memories. He narrates, "There is a story, always ahead of you. Barely existing. Only gradually do you attach yourself to it and feed it. You

    12 out of 15 people found this review helpful.

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  • Anonymous

    Posted November 10, 2011

    A beautifully told tale through the eye's of a young boy

    I loved the writing style of this book. Like "The English Patient", there are mysteries that aren't always solved, and a plot that certainly isn't predictable. The characters are amazingly drawn, and I feel like I'll be thinking about this book for years to come. Derfinitely worth reading.

    7 out of 7 people found this review helpful.

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  • Posted September 30, 2011

    more from this reviewer

    Award winning author Michael Ondaatje provides a strong coming of age thriller that contains a metaphysical undercurrent for those who know the background of the writer

    Eleven year old Michael is leaving his home in Ceylon for the first time to join his divorced mother living in England. Michael is traveling alone though a first class passenger promised his uncles and aunts to keep an eye on him. The lad is taken aback when he sees the multistoried castle he will sail on lying majestically large in Colombo Harbor. His bunk on the Oronsay is under the waves so he has no porthole.

    He is assigned Table 76 for his meals. There are nine people at 76 including two boys (extroverted Cassius who he knows from school and pensive Ramadhin) his age. Another table 76 occupant Miss Laqueri explains they eat at the Cat's Table, which is to keep the dregs the furthest from the exclusive Captain's Table. The lads run amuck getting into one stormy escapade after another while traveling the Indian Ocean and the Mediterranean Sea while being fascinated by the mystery of the chained prisoner. Meanwhile Michael is attracted to his older vivacious cousin Emily as she is kind to him, places deaf Asuntha under her protective wing and gallivants with a performer.

    Award winning author Michael Ondaatje provides a strong coming of age thriller that contains a metaphysical undercurrent for those who know the background of the writer. Michael's journey is filled with youthful adventures but also metaphorically symbolizes the journey of life as the adult is the child without the innocence. The Cat's Table is an excellent character driven drama, which, unlike Paradise Lost can become Paradise Regained, though innocence lost is gone forever.

    Harriet Klausner

    5 out of 8 people found this review helpful.

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  • Posted November 10, 2011

    Very good ! I would definately recommend this book.

    This was a very interesting book. I learned a lot about travel by ship in these olden times. And I enjoyed the way the past and the more recent times are drawn together.

    3 out of 7 people found this review helpful.

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  • Posted May 10, 2013


    Not a fan of Ondaatje in general. But I found this book to be compulsively readable and very original. Great cast of eclectic and likeable characters. Interesting twists and a highly satisfying ending. Will recommend to friends.

    2 out of 2 people found this review helpful.

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  • Posted January 16, 2013

    A finely crafted tale of an 11-year old boy's 21 day ship crossing from Ceylon to England.

    This book tells of the people at the "Cat's Table"---those of the least interest and importance to the ship's Captain and therefore farthest away from the Captain's table---and their exploits for the 21 day cruise. Each chapter is a little vignette on its own. Some of it is what occurs on the ship, and then the story reverts to the characters when they are older. The story jumps back and forth thru time and even becomes a little con-fusing to the reader. As you might predict, however, all the parts come to the fore toward the end of the book, and then the reader can put all this and that together and realize how finely crafted the book is written.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted January 8, 2013

    Good Short Fiction

    I enjoyed the character development. In the first few chapters I wondered where the story was headed, but after 60 or so pages the story took on strong story lines being unveiled in every new chapter. There are few un answered sub plots, but I surmise the author writes that way on purpose. Up to the reader to carry on.
    Interesting information about a 21 day boat trip in another century and filled with images of a different time.

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted December 20, 2013

    Very enjoyable read

    This was a great story. I felt like I was there on the ship with the characters. Great "curl-up" book for a rainy day read.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 24, 2012

    Dawn to geckostar

    Geckostar! I....w.w.was... in.....y.y.your... clan....u..ntil.. i..i.
    I..f.f.found...m.m.m.y...p...o.wer.. the dragon stammered. I could turn into a dragon i never came back. Anyway here is my gift. I will give you the ancient pendant of dreams. It will help you build a clan so great you never thought it was possible. She gives you a flikering orb on a chain of dimonds and obsidian and glides silently away.

    1 out of 3 people found this review helpful.

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  • Anonymous

    Posted January 14, 2012

    Not compelling

    My husband enjoyed the book and recommended it. But I thought it lacked energy and plot. I forced myself to get through it but didn't like fhe abrupt ending. I say don.t bother.

    1 out of 4 people found this review helpful.

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  • Posted December 1, 2011

    more from this reviewer

    Good story.

    The world of a voyage from Ceylon (in the 1950's not yet Sri Lanka) to London as seen through the eyes of an 11 year old traveling to meet his estranged mother. His adventures and insights with his fellow pre-teens and the others who populate the ship can be quite amusing and profound for his adolescent sensibilities. Though not a fan of overly descriptive narrative, I felt that at times, the writing was a bit too sparse. I did appreciate Ondaatje's ability to capture the mind of an 11 year old.

    1 out of 1 people found this review helpful.

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  • Posted March 15, 2014

    I was intrigued by the title of this book plus I quite enjoyed a

    I was intrigued by the title of this book plus I quite enjoyed another one of Ondaatje's books (Running in the Family) so I recently choose The Cat's Table to read. Early on, the author explains that the "cat's table" on a ship is the table furthest from the captain's table or in other words the table of the least privileged on the ship. Later the main character observes that often in life we learn the most from those seated at whatever cat's tables we may be seated.

    The story is of three unsophisticated, adolescent Sri Lankan boys who are put on a boat, the Oronsay, bound for England. To the boys, the Oronsay seemed to exude "the grandeur of a castle." They have experienced very little of the adult world before this trip and are left to fend for themselves with the exception of an occasional meeting of an "auntie" or cousin. The three soon bond and vow to do one forbidden activity a day which includes spying on various adult conversations. By the end of the trip they have traveled from one culture to another and have journeyed further down the path of becoming adults.

    I was glad the author jumped ahead to the current lives of the three boys about halfway through the book. Ondaatje let the reader begin to discover the fate of the three before revisiting the remainder of the boat journey 20 years earlier.

    The genre is not mystery but the unusual circumstances of a shackled, escorted prisoner onboard leads the boys to try their hand at detective work and the reader is left in suspense for much of the novel.

    This book leaves me eager to read more of Ondaatje's works.

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  • Anonymous

    Posted October 4, 2013

    Not great

    I thought it was rather rambling and not very interesting. Wouldnt recommend it.

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  • Anonymous

    Posted September 22, 2013

    A Childhood Odyessy

    Captures the crucible of childhood's creation of the adult.

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  • Anonymous

    Posted July 5, 2013


    "Haave i missed something?"

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted July 5, 2013


    Tommrow at full moon first result between eight trity and nine eastern time

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 15, 2013



    0 out of 4 people found this review helpful.

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  • Anonymous

    Posted March 20, 2013


    At result seven.

    0 out of 5 people found this review helpful.

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  • Anonymous

    Posted March 10, 2013

    Votes.... the most important of them all

    1) Dovewing 2) Tigerstar or Hawkfrost 3) Purdy 4) Leaf (From Firestars Quest) 5) Brook Where Small Fish Swim 6) Lionblaze

    0 out of 6 people found this review helpful.

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  • Anonymous

    Posted March 10, 2013

    My Vote!

    1. Graystripe or Firestar 2. Tigerstar or Hawkfrost 3. Ravenpaw or Barley 4. Sasha or Sol 5. Ivypool or Tigerheart or Birchfall or Briarlight or Dovewing or Shadepelt or Reedwhisker or Mothwing or Onewhisker or Mudclaw or Snowfur or Moonflower or Feathertail or Crowfeaher or Leafpool or Squirrelflight or One-eye or Blossomfall or Breezepelt or Thristleclaw or Mapleshade or Darkstripe or Ferncloud or Bumblestripe or Morningflower or Yellowfang or Jayfeather or Lionblaze or Flametail or Willowshine or Stromtail or Spottedleaf or Swiftbreeze or Silverstream or Russetfur or Boulder or Cherrytail or Echosomg or Sharpclaw or Hollyleaf or Honeyfern or Cinderheart or Cinderpelt or Lionheart or Fireheart or Brambleberry or Featherwhisker or Goosefeather or Dappletail or Spleckletail or Frostfur or Redtail or Rainwhisker or Sootfur or Sorreltail or Berrynose or Rosepetal or Toadstep or Toadfoot or Hazeltail or Mousefur or Mousewhisker or Voletooth or Raggedpelt or Brokentail or Talltail or Clawface or Whitestorm or Smokefoot or Kinkfur or Icewing or Icecloud or Foxleap or Ratscar or Tawnypelt or Dawnpelt or Rowanberry or Brambleclaw or Smallear or ETC.

    0 out of 8 people found this review helpful.

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