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60 pages 2 hours read

Zana Fraillon

The Bone Sparrow

Zana FraillonFiction | Novel | YA | Published in 2016

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Symbols & Motifs

Sparrows

Content Warning: This section contains depictions of human suffering and violence towards and the murder of children, as well as discussions of self-harm, the death of a parent, and death by suicide. It depicts life in detention centers, the persecution of immigrants, and the persecution of Muslims, particularly the Rohingya. Refugee experiences, and associated depictions of displacement and trauma, are described. It also engages in negative stereotypes of people with missing eyes.

Birds are migratory creatures that often don’t have a permanent home and are a symbol of freedom. Yet sparrows are delicate birds that don’t hold the same majestic quality as larger, more powerful winged creatures. The novel opens with an epigraph describing the creation of the bone sparrow:

The knife worked at the bone. Twisting, curving, smoothing. And when the bird emerged, knowing and strong, the hand placed a coin deep into its core. ‘May you for ever bring us luck and protection, and may you carry our souls to freedom’ (1).

Birds become a prominent motif as protagonist Subhi first sees the presence of birds as a bad omen and later comes to understand them as symbols of hope, resilience, and liberation. In some cultures, people believe that sparrows carry the souls of the dead to the afterlife. Different traditions hold two conflicting theories about sparrows appearing inside homes; some say it’s a sign of impending death, and some claim it signifies coming change or transition. When Subhi finds the sparrow on his cot, Queeny says, “[A] sparrow in the house, that’s a sign of death” (22). Subhi clings to the ominous prophecy, and, coupled with the undefinable gloom he feels hanging over the camp, he convinces himself that his death is imminent. In reality, death is imminent—the death of Eli. Change is also imminent, however, as Subhi will find more of a place in the world through his friendships and will become more connected to the Rohingya culture. It is also suggested that Rohingya culture, here migrating just as a sparrow would, will itself change as Subhi adapts it for the modern world and a modern incarnation of his people’s centuries-long struggle.

When Subhi meets Jimmie and sees the strange sparrow necklace, the sight frightens him as he fears she is another omen of impending doom. However, Jimmie explains the symbolism of her necklace, and as Subhi begins to read her mum’s story, he learns that the necklace symbolizes an important part of Jimmie’s ancestry and is a link to her mother’s memory. For Jimmie, however, the necklace represents her lack of belief as it appears to have failed to protect her family from harm. After hearing its full history, Jimmie comes to understand that the necklace doesn’t save people from dying but instead brings them hope in the face of unimaginable trials and difficulties. She says, “Maybe if Mum wasn’t wearing it, she would have died even sooner. Maybe it’s a different kind of luck” (95).

The sparrow necklace is also a talisman that links Jimmie’s and Subhi’s stories. Like Subhi’s, Jimmie’s family has a tragic history, and the bone sparrow has become a family heirloom to remind them of where they have come and inspire hope for a better future. Subhi has few family heirlooms, and though he doesn’t wear a necklace, he carries his family’s story inside himself. Whether it be fate or some other force, Jimmie tells Subhi that the image of the bird brought them together: “[T]he Bone Sparrow brought you to me, to save me” (274). The sparrow, though predicting Eli’s death, also precipitates Jimmie’s arrival, which eventually saves her life and gives Subhi a reason to go on living. Sparrows may appear fragile but exhibit powerful resilience to adapt and survive in challenging environments. Trapped within the confines of their existence, both Subhi and Jimmie find a way to harness the fortitude of the tiny bird, and though their bodies may not yet be free, through the power of story and imagination, they can liberate their souls.

Shakespeare Duck

Rubber ducks are favorite bath toys for children and often feature goofy faces; they are fun for children and squirt water. However, the children of the camp don’t have bathtubs, nor do they have adequate drinking water most days. When Harvey brings the plastic pool for the kids, he also brings a rubber duck decorated to look like the famous Elizabethan playwright William Shakespeare. Uninterested in the duck’s personage, Subhi takes the toy as his own, and the duck becomes Subhi’s imaginary friend.

The Shakespeare duck at times serves to move the narrative along by telling parts of the story and, much like its namesake who was known for having a way with words, often provides comic relief amid the bleak tone. Subhi and his family have few personal belongings, and once he takes the duck, it becomes a prized possession that he keeps in his pocket. Subhi’s conversations with the duck represent his desire to cling to the last bit of childlike nature within himself. He describes his unusual relationship with the toy: “I look at the duck. For a second I think it gives me a little duck nod and a wink” (19). Like many children who delight in making their toys move or “talk,” the Shakespeare duck provides Subhi with that small bit of fantasy that brings him joy and helps him escape the painful reality of his existence. It represents the power of play and imagination, and imagination will indeed be the most powerful tool to Subhi as he navigates his existence as a Rohingya trapped in a refugee camp.

Though Subhi doesn’t know what a play is or understand the historical context of Shakespeare, the aptly named duck, like a stage actor, soon becomes a mouthpiece and vocalization for when Subhi can’t find his words. The duck often provides wisecracks but sometimes wise counsel and brings to life Subhi’s inner monologue, revealing the way Subhi parses out situations and processes decision-making. In the end, when Subhi tries to have the duck help him work through the pain of Eli’s death and the decision to speak the truth or not, Subhi tosses the duck aside, which represents the turmoil of his indecision and the impossibility of his choice. However, Subhi later rescues the duck, which had become a play toy for the Jackets’ guard dogs. He explains, “He’s a little worse for the wear, and his tail is mostly gnawed off now, but he’s still just as chatty” (283). The duck, like Subhi, is irreparably damaged from the trauma of living in the detention center. Like himself, Subhi still sees value in the duck despite its wounds, and he rescues it from abuse and returns it to a place of esteem and worth. It is here a symbol of imagination and joy in dire circumstances; it represents Subhi’s own joy, with his stories, within the misery of the camp.

The Night Sea

The world’s oceans represent one of the last undiscovered frontiers, as humans know more about outer space than they do about the depths of the sea. Often a metaphor for escape and violent, wild destruction, the ocean emblemizes an inconceivable and uncontrollable yet endlessly fascinating natural force. For Subhi, the ocean represents the opposite of his reality. Marooned on a dry, dusty piece of Australian dirt, dreaming of endless, teeming, life-giving water brings Subhi a momentary liberation from his parched existence. The bountiful sea not only brings him respite from his barren imprisonment, but each time it visits, it also leaves him treasures that he imagines are gifts from his ba, tiny promises that he will one day return and reunite with his family. Subhi explains the joy the gifts bring him and his mother: “But my Night Sea has been washing up treasures for five seasons now, and the first treasure I found made my maá smile deeper than ever, and her smile stayed all through that whole day” (8).

It is significant that the sea only comes at night, a time when children often feel most vulnerable. Nights are especially difficult for Subhi as he shares a tent with many other families and, most nights, the Jackets interrupt their sleep to check identification numbers. The fantasy of the Night Sea provides Subhi with a sense of hope that one day his ba will return and his family can escape the confines of the camp. In the camp, the sea—his imagination and the memory of his family and culture—provides him with safety and direction. Imagination and the memory of his family and culture are even the same thing here, as his visions of The Night Sea deliver gifts from his father. It protects him in vulnerable moments and also protects the Rohingya. It is a story of Subhi’s but symbolizes stories in general, stories within the Rohingya tradition.

The ocean can also symbolize danger, as its raging torrents and maelstroms show no mercy to seagoers. Subhi’s family as well as many in the camp harbor painful memories from the ocean as most of them came via boat when escaping their home country. Overloaded with people and belongings, the boats could become floating disasters as people fell overboard or the vessels sunk. Subhi’s fantastical Night Sea is vast, dark, and full of mysterious creatures, reflecting his repressed uncertainty and fear. When he senses the approaching sea, it invokes a sublime feeling embodying both wonder and trepidation. During the day, Subhi accesses the imaginative world of the Night Sea by telling his stories and creating drawings, allowing him a creative outlet for his energy and emotions. Though Queeny mocks Subhi’s visions, Eli joins in the fun and adds his whale stories to the imaginative play. After the trauma of Eli’s death, however, the Night Sea becomes a haunting vision as it represents Subhi’s addled brain and his wrestling with sharing the truth of Eli’s murder. After he releases his burden, the sea, though still wild and mysterious, becomes a calming force once again, and in its waves and sounds, he hears the voice of his lost friend. Subhi says, “Eli’s whale sees inside my head and reads through my memories” (263), and its waters are no longer an escape from reality but now a memory keeper.

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