They create a narrative structure that replicates the experience of terror, they ask the reader to engage in an act of reconstruction, piecing together stories and psychologies. But rather, their terrorists remain shadowy, nameless figures. They reproduce no political rhetoric and project no political solutions. Anil's Ghost and Funny Boy are novels of terrorism, but both abandon most of the conventions of the genre. It was the way to abandon emotion, a last protection for the self " (Anil 55, 56). 'The reason for war was war' (Anil 43) Some of the themes in Canadian texts such as Michael Ondaatje's Anil's Ghost and Shyam Selvadurai's Funny Boy arise from the cultural shock of return to a place and language almost forgotten, to construct meaning not to open a " door to escape grief and fear " for the survivors of catastrophe, but " those who were slammed and stained by violence lost the power of language and logic. It became evident that political enemies were secretly joined in financial arm deals.
In Michael Ondaatje's Anil's Ghost we read that It was a Hundred Years' War with modern weaponry, and backers on the sidelines in safe countries, a war sponsored by gun-and drug-runners. Moral distinctions and political solutions may be difficult to discern in any war, but in some literary texts we find a literal inability to identify the victims or agents of violence which, in the case of countries as Sri Lanka, can be read as transnational and postmodern texts.
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