My first book of 2017 is not the cheeriest of novels, but all the same, it came as a very pleasant surprise. The story is a dark fable, decidedly not for children, but then, the fairy tales we remember from childhood were much bleaker, gruesome affairs in their original incarnations. So imagine, if you will, a scene taking place just off the edge of a canvas painted by Bruegel the Elder, where two deformed boys play on the shore of a wild sea, dreaming of escape to fantastic lands, and you will evoke the setting—and the mood—of Brothers by Quebecois writer David Clerson.
The third title to be released by QC Fiction, a new subscription-based imprint of Baraka Books, Brothers is quite possibly the Quebec publisher’s most daring and impressive offering to date (I reviewed the first release, Life in the Court of Matane for Numéro Cinq last July). This slender volume with the striking red cover—QC Fiction has chosen a most impressive graphic design for their books—contains a world that overflows with mythological adventure, shocking violence, and nightmarish beauty.
Brothers plays with and twists themes pulled from myth and legend. The central character, “older brother” is born of the union between his aging mother and a wild dog. She does not want her son to face the world alone, so she cuts off his left arm and from that limb she fashions a “younger” brother who has two very short arms. The two disfigured boys spend their days running through the fields and marshes around their clapboard house, fishing off the pier, and scavenging oddities that the waves bring in.
One day the sea offers a wreck of a boat, another day a wooden puppet washes up. Together the brothers work to patch the boat as best they can, dreaming of the day that they cross the waters to distant lands populated with monstrous creatures in search of their “dog of a father.” When they find a drowned dog, they know that the time has finally come. With the older brother dressed in the animal’s tanned pelt, one of the puppet’s arms strapped to his shoulder in place of his missing limb, they set to sea, leaving their aging, desiccated mother behind. She has withdrawn from them so completely they doubt she will notice their absence.
The first days it took a long time to get away from the shore. Not by choice, but because the wind kept them there, or they didn’t know how to handle their sail, to make the boat go where they would have wanted. Instead, they followed the coast, in a direction they had never been, not toward the marshes and the neighbouring village, but out to where the coastline fell away steeply, with cliffs sliced by creeks and a multitude of shrieking birds soaring above.
The brothers are ill-prepared for their adventure. Illness levels the younger boy, storms rage, and ultimately, disaster strikes. The older brother eventually ends up alone, on a farm, chained to a doghouse. Yet he finds, for a time, a certain peace in this new existence, save for the torments dished out by the six pig-like children who also live there. He will even experience a mixture of love and lust with a grey dog—the daughter of a dog of a father—whose life has been much lonelier and harsher than his. But this respite does not last, and it does not end well.
If there is a moral here, it is that life is brutal—that goodness and evil are both instinctual survival mechanisms. The former is weak and the latter consumes. Redemption is elusive.
So why read it? The prose, beautifully translated by poet Katia Grubisic, is crystalline, spare, and unsentimental. The balance is just right… it holds you in awe. It is surreal, grotesque and beautiful in turn. The older brother is self-reflective. He notices his contentment, contemplates the stirring of love, and knows he is helpless against the escalation of murderous revenge. The cruelty he has experienced, the violence he has perpetrated, the guilt that haunts him, and the kindness he cannot accept leave their mark, shape him. He has existed at the intersection between beast and man—more whole and complete for the months he lives as a dog, as harsh and mean as they are—but in the end, in the absence of the brother who completed him—he can find comfort only in the company of a murder of crows. And it is insufficient.
This book is not, as I had feared, magic realism. This is not a human tale with a magic element—it is a magical tale with a human heart. Like a folktale for a post-apocalyptic future, Brothers, in all its grotesque surrealism, reflects a truth in which we recognize ourselves, with an equal measure of horror, sadness and shame.
Originally published in 2013 as Frères, this first novel won the Grand prix littéraire Archambault 2014.