Hanna, 'imagines all of Asia through the gestures of this one man.' When Kip looks at Hanna, 'he sees a fragment of her lean cheek in relation to the landscape behind it.' The English Patient vividly recalls the dry heat of the desert being refreshed by a breeze eventually increasing and transforming the surface of the desert. 'We had to keep moving. If you pause sand builds up...and locks you in.' This is the same desert which had just been described as: 'The grooves and the corrugated sand (which) resemble the hollow of the roof of a dog's mouth.' In contrast we experience the freezing cold mud as Kip prepares to defuse an unexploded bomb: 'He had come down barefoot...being caught within the clay, unable to get a firm hold down there in the cold water. He wasn't wearing boots - they would have locked within the clay, and when he was pulleyed up later the jerk out of it could break his ankles.' The faceless English patient wears, 'an amber shell within his ear' so he can hear the clawing and breathing of the dog. He hears, 'the drift of voices, now and then a laugh from the smoky garden. He translates the smell, evolving it backwards to what had been burned.'
This is not a book for those who want a quick read in anticiapation of a comfortable resolution. The language compels us to linger as through our senses it transports us in space and time to places and events that have the appearance of fact rather than fiction.