Towards the end of Michael Ondaatje’s 1982 memoir, Running in the Family , is a chapter entitled “Harbour”. Describing the luxury liners, the blue tugs and the Maldive fishing vessels that skim out into the thick night air from Sri Lanka’s main port, the author recalls a “frail memory dragged up out of the past”: it is the early Fifties and he is going to the harbour to say goodbye to a family member at dusk.
Turn the opening pages of Ondaatje’s sixth novel, The Cat’s Table , and this harbour landscape greets the mind’s eye once more. The narrator, Michael, is remembering himself as a boy of 11 waiting for the ocean liner Oronsay to sail from Colombo docks. This time he is a passenger himself, travelling alone on the 21-day voyage to England.
Each day of the crossing he dines at the cat’s table, Table 76, “the least privileged place” in the ship’s dining room, shared with a cast of misfits including two other boys, Ramadhin and Cassius. Exploring the ship, going where young boys shouldn’t, the three soon learn that what’s important “happens mostly in secret, in places where there is no power”.
And like so much of Ondaatje’s fiction, the most important space is the one that separates the present and the past, the fluid relationship between memory and history, biography and truth.
Both Michaels – the narrator and the author – are Sri Lankan-born writers who emigrated to England as children and are now settled in Canada. Yet Ondaatje plays with the lines between where fiction begins and fact ends – the shifting, mercurial seascape of memory and identity.
The Cat’s Table deserves to be recognised 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.

It is the briefest of chapters, a mere 200-odd words, yet faint crepuscular memories are sketched with such deftness that it's impossible not to imagine sailing out into the night upon dark infinite waters. Turn the opening pages of Ondaatje's sixth

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