Michael Ondaatje: Haptic Aesthetics and

Demonstrates how Ondaatjes multisensory, fluid and historically inflected writing can forge an intimately embodied, ethically responsible and politically enabling relationship between audience, author and text.

Acknowledgements Table of contents Introduction The multiple senses of the haptic A touch affectionate but troubling Michael Ondaatje: Writing politically with a difference Notes Chapter I: Haptic Writing as Affective Cinema Hapticizing the ‘I' / ‘eye' in The Collected Works of Billy the Kid Coming through the haptic cut: History in the making and Coming through Slaughter Humble Affections of the Cinematic: Michael Ondaatje's Films of the 1970s Notes Chapter II: Micropolitical Hapticity and Witness Writing ‘Touching into words' the intimacy of witness writing in Running in the Family Witnessing the body/The body witnessing in Anil's Ghost Notes Chapter III: Haptic Writing and Micropolitical Betrayals ‘A falling together of accomplices' in In the Skin of a Lion: Writing, history, betrayalBetween the grope of the hand and the sight of a rifle: The betrayal of propinquity in The English Patient Betrayals of the Cinematic: Anthony Minghella's The English Patient Notes Epilogue: The Haptic in Literature: Hiding, Playing, Educating Notes Bibliography Index

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Michael Ondaatje: Haptic Aesthetics and Micropolitical Writing

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Table of Contents

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