Bridge of Clay Archives - The Boomerang Books Blog

Australian literature is the best. Over Christmas I’ve indulged in reading the literature for adults I can’t easily justify reading during the year (but read anyway) when I am focusing on YA and children’s lit for work – and also pleasure.

I’ve been reading a mix of Australian and international fiction. I have to say that the Oz books are better. Highlights have included Trent Dalton’s Boy Swallows Universe (HarperCollins Australia), Marcus Zusak’s Bridge of Clay (Picador, Pan Macmillan, reviewed here), Gail Jones’ The Death of Noah Glass (Text Publishing) – the best literary fiction I read last year by probably my favourite writer for adults – and I have just finished Flames by Robbie Arnott.

Flames (Text Publishing) is an extraordinary debut novel. Set in Tasmania, shrouded in the gothic and macabre, it reminds me of one of my all-time favourite novels, The Sooterkin by Tom Gilling (Text Publishing). Both novels share a kinship with seals.

The cover is an abstract, reimagined Tasmanian wonderland, designed by the talented and charming W. H. Chong from a lithograph by Harry Kelly. It evokes both place and the elements of each chapter: Ash, Salt, Sky, Snow and Wood … Flames smoulder and taunt or empower the characters.

The tale begins with the return of Edith McAllister two days after her ashes were spread over Notley Fern Gorge. “Now her skin was carpeted by spongy, verdant moss and thin tendrils of common filmy fern. Six large fronds of tree fern had sprouted from her back and extended past her waist in a layered peacock tail of vegetation.” She is one of several McAllister women to appear after cremation, causing her grieving son Levi to commission a coffin for the eventual death of his twenty-three-year-old sister Charlotte in the hope that this will alleviate fear of her own reappearance after death.

As well as Levi’s viewpoint, the author shares the perspective of Charlotte, who escapes to remote southern Melaleuca; Karl, who bonds with a seal to hunt the Oneblood tuna (and witnesses the most harrowing and unforgettable scene in the novel); and his daughter Nicola who loves Charlotte. Other characters include the coffin-maker (whose derangement is largely shown through his letters to Levi); the “Esk God” water rat; the farm manager who cares for the wombats; the gin-swilling female private investigator and the enigmatic Jack McAllister. The entwined lives of these characters are skilfully explored.

The setting will be familiar – and not – to those who know the Tasmanian landscape. Place is wrought superbly. Images are unique and expressionistic. Flames are volatile.

Flames has deservedly been shortlisted for the Victorian Premier’s Literary Awards fiction prize, alongside The Death of Noah Glass. Australian literature is flourishing.

Marcus Zusak exceeds expectations in his new novel Bridge of Clay. This is an epic Australian tale awash with masculinity: the masculinity of deep, beautiful men. It is a story full of heart, intelligence and sensitivity. Its men are mates, brothers and family and they are men who love and cherish women. The Dunbar men are athletic, physical and even hard, yet tender and loyal. They are a “family of ramshackle tragedy”.

The structure is sophisticated. Matthew, the eldest of five Dunbar brothers, is typing the story of “one murderer, one mule and one boy”. Each chapter begins in typewritten font before settling into Goudy Old Style. The typewriter itself is part of the narrative and family heritage. The boy who Matthew writes about is the one “who took it all on his shoulder” – the fourth Dunbar boy, Clay.

Early on we know that the boys’ mother has died and their father has fled. We are forewarned about the long backstory about the mule, Achilles, only one of a number of past tales that enrich this book. These strands are elemental and seamless, and we are swept up in each.

We learn of the boys’ mother, Penelope – the Mistake Maker, the pianist, the teacher, the refugee from the Eastern Bloc. She grew up steeped in the ancient Greek classics of The Iliad and The Odyssey and shared them with Michael Dunbar and their children.

When she dies, the boys call their father “the Murderer”. After years away, he returns asking for help to build a bridge on his property. Clay, the quiet smiler, the runner, the boy who sits on the roof, the one who loves Carey and shares the book, The Quarryman with her, is the son who goes.

Zusak draws the female characters with love, respect, admiration and affection, even old neighbour Mrs Chilman, a minor character. Carey is a ground-breaker, an independent, aspiring female jockey.

There is a strong sense of place: the racetrack, The Surrounds and house in Archer Street in the city; Featherton, the town where it all began; and the bridge itself, the overarching metaphor. The writing is uniquely Zusak: idiosyncratic (“cars were stubbed out rather than parked”, “The furniture all was roasted.”); humorous, enigmatic and prophetic.

Bridge of Clay is published by Picador, PanMacmillan Australia. It is a contemporary classic.

Marcus Zusak’s backlist includes: