★ 10/03/2016
Subhi hangs on his mother’s stories of her life in Burma as a Rohingya, a persecuted ethnic Muslim minority. Subhi’s Maá (mother) and his older sister were among the Rohingya exiled from their homeland and relegated to a detention center in Australia, where he was born. The 10-year-old’s imagination helps him survive in a refugee camp ruled by abusive guards as he watches Maá sink into catatonia and waits in vain for the arrival of his father, an outspoken poet. Australian author Fraillon crafts a harrowing vision of life in the detention center (shoes are rarities, rats and mold are rampant, children race lice for fun), yet Subhi finds solace in sensitively portrayed friendships with a rebellious older boy, a compassionate guard, and an intrepid girl named Jimmie who sneaks into the camp to hear Subhi read stories her late mother recorded in a notebook; though most of the story is told from Subhi’s first-person perspective, several third-person chapters focus on Jimmie’s life outside the camp. While addressing themes of loss, desperation, and injustice in an all-too-relevant setting, Fraillon’s resonant novel underscores the healing power of story. Ages 9–12. Agent: Claire Wilson, Rogers, Coleridge & White. (Nov.)
09/01/2016
Gr 5 Up—Subhi knows only life in the Australian refugee detention center where he was born, and lately, things are getting worse. His mother is increasingly lethargic, older sister Queeny is bossy and angry, and his best friend Eli has been transferred to the single men's compound. The Jackets (guards) are unfriendly, except for Harvey, who occasionally brings presents and diversions. It's at this low point that Subhi meets Jimmie, a local child who finds her way into the camp. Jimmie's mother has died, and between her father's grief and his erratic work schedule, she is alone for long periods. Jimmie can't read, so she asks Subhi to read aloud her mother's notebooks, which contain stories from her mother's past. The unrelenting conditions of the camp result in a tragic situation that impacts both children. Fraillon creates a complex narrative, weaving tales from Subhi, Jimmie, and the notebooks. The characters and situations are portrayed realistically—once Eli has gone, Subhi cannot withstand the bullying of some of the older boys and is pressured into an act of animal cruelty. Kind guard Harvey is also shown to be unable to deal with peer pressure. While the book is fictional, the author based it on research and reports of life in Australian detention centers, where conditions are grim. Readers will come away with a raised awareness of life in such centers, but why these facilities exist is not discussed. Students may be inspired to do their own research on organizations working to better the lives of refugees. VERDICT A thought-provoking and affecting selection that highlights a current situation in many countries. Hand to readers who appreciated Linda Sue Park's A Long Walk to Water.—Michelle Anderson, Tauranga City Libraries, New Zealand
2016-08-17
In the Australian detention camp where he was born and still lives, Subhi, 10, a Rohingya boy, shares a crowded tent with his mother, older sister, and other refugees and dreams of an unbounded world and the Night Sea. Stories feed Subhi’s vivid imagination, especially the ones his mother tells of life back in Burma, but Maá rarely speaks now. Camp living conditions are dire: borderline inedible food, appalling sanitation, and the Jackets’ inhumane treatment, which ranges from indifferent to cruel (kindly guard Harvey is the exception). Subhi helps his friend Eli trade valuable items among detainees until Eli is sent to live with the adult single men; then his companionship is limited to the Shakespeare duck, a rubber duck he keeps in his pocket to talk to—and who talks back in his portion of the narration. Near the camp, another child, Jimmie, also 10, lives with her father and brother. Jimmie treasures but can’t yet read her deceased mother’s notebook of stories. Following a (false) rumor that detained kids have bikes, Jimmie sneaks into the camp unnoticed. After meeting Subhi, who’s happy to read the stories to her, she visits frequently, bringing hot chocolate and snacks. These easily accomplished visits don’t square with the established gulaglike conditions and contradict the brutal realities already conveyed. Suspenseful but less-consequential, this weaker subplot dilutes the starker, more powerful tragedy and, like Jimmie’s character, is less fleshed out. Readers will trip over the plot’s loose ends. If the strong lyrical voice can’t quite compensate for the plot’s awkward execution, it points to a reservoir of underutilized talent in an author worth watching. (afterword) (Fiction. 9-12)
"Powerful... such stories are as necessary as ever." —Guardian
"Powerful and moving... the writing soul-shakingly communicates the truthfulness of the characters' experiences." —Observer
"A timely reminder of our unseeing cruelty towards those forced out of their homes by war, genocide, or other atrocities." —British Theatre Guide
Praise for the novel, The Bone Sparrow:
"With an affecting and distinctive narrative voice... [Zana Fraillon] builds a convincing and complete world. Moving and memorable, The Bone Sparrow deserves to be read by all who care about our common humanity" —Guardian
"A heartrending tale about how our stories make us, and also an angry polemic, vividly convincing in its detailed description of what it means for your home to be a tent in the dust behind a guarded fence." —Sunday Times
"This is a tragic, beautifully crafted and wonderful book whose chirpy, stoic hero shames us all." —Independent
