The Bridge (novel)
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| Author | Iain Banks |
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| Country | Scotland |
| Language | English |
| Genre(s) | Novel |
| Publisher | Macmillan Publishers |
| Released | 1986 |
| Media type | Print (Hardback & Paperback) |
| Pages | 256 pp |
| ISBN | ISBN 0-06-105358-9 |
| Preceded by | Walking on Glass |
| Followed by | Consider Phlebas |
The Bridge is a novel by Scottish author Iain Banks. It was published in 1986.
Contents |
[edit] Plot introduction
The book switches between three main protagonists, John Orr, Alex, and the Barbarian, who turn out to be different levels of the psyche of a man who is in a coma after crashing his car on the Forth Road Bridge.
[edit] Plot summary
"The road cleared the cutting through the hills. He could see South Queensferry, the marina at Port Edgar, the VAT 69 sign of the distillery there, the lights of Hewlett Packard’s factory; and the rail bridge, dark in the evening’s last sky-reflected light. Behind it, more lights; the Hound Point oil terminal they’d had a sub-contract on, and, further away, the lights of Leith. The old rail bridge’s hollow metal bones looked the colour of dried blood.
You fucking beauty, he thought . . . What a gorgeous great device you are. So delicate from this distance, so massive and strong close-up. Elegance and grace; perfect form. A quality bridge; granite piers, the best ship-plate steel, and a never-ending paint job. . .
The three main characters represent different elements of the protagonist. Alex (not explicitly named), John Orr and The Barbarian are one.
Alex is a real person, born in Glasgow, who studied geology and engineering at the University of Edinburgh, fell in love with Andrea Cramond while there, and has continued their (open) relationship ever since. He is embittered by his betrayal of his working class roots (he has become a manager and partner in his engineering firm), the Cold War, successive Thatcher governments, and the failure of his relationship under the pressure of Andrea's French lover's terminal illness, While returning from a sentimental reunion with an old friend in Fife, during which alcohol and cannabis are consumed, he becomes distracted by the power and beauty of the Forth Bridge while driving on the neighbouring Forth Road Bridge and crashes his car. While in a coma in hospital, he relives his life up to the crash.
He glanced back at the roadway of the bridge as it rose slowly to its gentle, suspended summit. The surface was a little damp, but nothing to worry about. No problems. He wasn’t going all that fast anyway, staying in the nearside lane, looking over at the rail bridge downstream. A light winked at the far end of the island under the rail bridge’s middle-section. One day, though, even you’ll be gone. Nothing lasts. Maybe that’s what I want to tell her. Maybe I want to say, No, of course I don’t mind; you must go. I can’t grudge the man that; you’d have done the same for me and I would for you. Just a pity, that’s all. Go; we’ll all survive. Maybe some good-
He was aware of the truck in front pulling out suddenly. He looked round to see a car in front of him. It was stopped, abandoned in the nearside lane. He sucked his breath in, stamped on the brakes, tried to swerve; but it was too late."
John Orr is an amnesiac living on the Bridge, a massive simulacrum of the rail bridge, but hundreds of miles long and packed with people. The crash which precipitated his arrival on the bridge was semi-deliberate; as such, he is reluctant to return to the real world. That part of himself which wishes to wake is represented by Dr Joyce, Orr's psychoanalyst. Given Orr/Alex's desire to remain within the world of the Bridge, a world where he is well treated and lives a fairly pampered life, his attempts to stonewall and block the doctor's attempts to cure him are understandable. Eventually, he stows away on a train and leaves the Bridge. He finds that, in stark contrast to the very orderly, indeed totalitarian, life on The Bridge, the countryside beyond exists in militaristic chaos and warfare.
The Barbarian is an id-ish warrior with a superego-esque familiar in tow (phallic symbolism is referenced by the familiar within a few pages of their first appearance) whose hack-and slash antics through various parodies of Greek legends and fairy tales are phonetically rendered in Scots dialect (seven years before Irvine Welsh used the technique in Trainspotting). The Barbarian (along with his loquacious familiar) are a deep expression of Alex's character; when Orr's dreams are not themed around threat and opposition he dreams he is the Barbarian.
The Barbarian appears to be an expression of Alex's deepest feelings. A woman is his enemy in their first appearance (Metaphormosis, Four), showing how Andrea Cramond has made her influence felt in Alex's very core, and how his love for her has been eroded and has transmuted into anger and contempt through the rift that has opened in their relationship.
In their second appearance (Metamorpheus, Four), a female character is mentioned in passing, with a certain level of affection.
The third appearance of the Barbarian and familiar (Metamorphosis, Pliocene) sees them old, decrepit, bed-bound and heading inevitably towards death. In each successive chapter the Barbarian's Scottish accent becomes less and less pronounced, another indication of how far Alex has gone from his Glaswegian roots. The Barbarian talks of his grief over his dead wife and his memories of their life together. While comparisons have been drawn between Sigmund Freud's structural theory of personality, this is the only point where the Barbarian, Familiar and another individual get together in a three-way arrangement. If the Barbarian's wife represents Andrea Cramond, it is another example of how deeply she has penetrated his being. In a move mirroring Alex's suicide drive and anticipating the end of the book, he is placed in a situation likely to kill him, but triumphs and emerges (literally) rejuvenated and reinvigorated. His Glasgow accent also returns.
The Bridge is an unconventional love story; the characters eschew fidelity and barely see each other for years at a time, but they keep returning to each other. There is no marriage, no ring, no happy ever after, just the knowledge that their lives are so deeply entwined it would be difficult or impossible for them to break away from each other.
“You don't belong to her and she doesn't belong to you, but you're both part of each other; if she got up and left now and walked away and you never saw each other again for the rest of your lives, and you lived an ordinary waking life for another fifty years, even so on your deathbed you would know she was part of you.
[edit] Literary significance & criticism
The author has said that of the novels he has written, this is his personal favourite. "Definitely the intellectual of the family, it's the one that went away to University and got a first. I think The Bridge is the best of my books." [1]
Kafkaesque and multi-layered, it is probably the non-SF Banks novel with most in common with his Culture books. There is even mention of a knife missile late in the book. Banks has said that after this book, he felt his SF and non-SF work diverged. [2]
Other literary influences would appear to be the work of Philip K. Dick and Lanark by Alasdair Gray.
[edit] Allusions and references to actual history and geography
The most obvious and salient reference is to the Forth Bridge, and its environs. (Iain Banks lives in real life in North Queensferry, just beside the bridge.) The book is suffused with the substance of the Forth Bridge. A bridge is a place between places, something that appears to be a recurring motif in the protagonist's life. Is he working class or middle class? Glasgow or Edinburgh? Worker or capitalist? In a committed relationship, or not? And latterly, is he dead or alive?
The entire novel's structure mimics the passage of a train southwards across the real-world Forth Bridge. The first chapter (Coma) is short, reflecting the length of the northern viaduct. At the end of the viaduct the train passes through an archway and onto the Forth Bridge itself. The chapters Metaphormosis, Metamorpheus, and Metamorphosis mirror the three cantilevers. Triassic and Eocene, two short, more lucid chapters where the narrator describes real-world events occurring around his comatose body, correspond to the two smaller sub-bridges linking the main cantilevers. At the end of the third cantilever, the train passes through a second archway at the end of the southern viaduct, signalling (for our protagonist) a return to reality. The differing lengths of the northern and southern viaducts are reflected in the different lengths of the chapters Coma and Coda.
The last part of the book (Metamorphosis) details Alex/John's experiences after he leaves the Bridge. If the Bridge is symbolic of university (a place between school and work), the John Orr sections relate his experiences after leaving university, distorted by his disrupted consciousness. In real life, it is shortly after his graduation that the Soviet Union impinges on his world as Andrea decides to study Russian, reflected in his passage through
“the Republic, a place of wheatfields and wind, low hills and grey buildings; it seemed run down and full of energy, and those grey buildings gave way, every now and again, to immaculate palaces and temples of an obviously earlier age, perfectly restored but seemingly unused”
After arriving in the Republic, Orr finds himself assigned a job as a park sweeper. Banks has stated[citation needed] that this was intended to reflect the experiences of Alexander Dubcek, who was posted to the Slovakian Forestry Service following the Prague Spring. It seems like a fair comparison; after heavily partaking of the hippy ideology while at university, it was probably a real downer to end up just another cog in the Great British post-war capitalist machine.
The chapter Miocene details Orr's experiences as a lackey to a collection of elderly bureaucrats on a train sent on a peace mission. As time goes on, the landscape the train moves through becomes steadily more threatening and marked by war, conflict and vulcanism. Eventually Orr's train is destroyed in a devastating attack by the forces of the Field Marshal, (a fat, lank-haired sadistic psychopath with a penchant for raping pigs while being sodomised with a machine gun wielded by a cross-dresser). The train in this context represents the post-war consensus in British politics, the elderly officials the governments of this period, and Orr's obeisance to them reflects his attitude to the governments of the day. The Field Marshal is Banks' take on Margaret Thatcher, and Orr's reaction to him reflects Alex's actions back in the real world; cooperation followed by violent repulsion.
[edit] Trivia
- The 'real' name of the central protagonist is not given, but Banks leaves enough clues to work out his forename and surname.
- Orr, the character who lives on the fantasy-level Bridge, has the same name as Orr, the airman in Catch-22 who escapes to Sweden.
[edit] Bibliography
The Bridge, Iain Banks, London : Macmillan, 1986, ISBN 0-06-105358-9
[edit] External link
| Iain Banks books |
|---|
| The Wasp Factory • Walking on Glass • The Bridge • Espedair Street • Canal Dreams • The Crow Road • Complicity • Whit • A Song of Stone • The Business • Dead Air • Raw Spirit • The Steep Approach to Garbadale |
