Giving readers only brief recaps, this book throws them right into complicated storylines in this large, lovingly detailed fantasy world filled with multiple countries, two different time periods, and hostile angels. In the sequel to Furyborn (2018), Rielle and Eliana struggle across time with their powers and prophesied destinies. Much like building a bridge stone by stone, this read requires painstaking effort and patience. Women in the book primarily play the roles of love interests, mothers, or (in the case of their neighbor) someone to marvel at the Dunbar boys and give them jars to open. The story romanticizes Matthew and his brothers’ often violent and sometimes homophobic expressions of their cisgender, heterosexual masculinity with reflections unsettlingly reminiscent of a “boys will be boys” attitude. His prose is thick with metaphor and heavy with allusions to Homer’s epics.
Zusak ( The Book Thief, 2006, etc.) weaves a complex narrative winding through flashbacks. He searched for it in order to tell the story of the family’s past, a story about his mother, who escaped from Eastern Europe before the fall of the Berlin Wall about his father, who abandoned them all after their mother’s death about his brother Clay, who built a bridge to reunite their family and about a mule named Achilles. Matthew Dunbar dug up the old TW, the typewriter his father buried (along with a dog and a snake) in the backyard of his childhood home. Years after the death of their mother, the fourth son in an Australian family of five boys reconnects with his estranged father.
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