AustLit
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.
Latest Issues
AbstractHistoryArchive Description
‘Janet has no friends. No friends at all. So when Lola, the new girl in her class asks to meet her at the Bent-Back Bridge terminus after dark, she agrees. Janet would give anything to have a friend ... well, almost anything ...’ (Source: Back cover)
Affiliation Notes
-
This work is affiliated with the AustLit subset Asian-Australian Children's Literature and Publishing because it has an Indonesian translation.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Also sound recording.
Works about this Work
-
Writing on the Edge: Gary Crew's Fiction
1998
single work
criticism
— Appears in: Papers : Explorations into Children's Literature , December vol. 8 no. 3 1998; (p. 25-35) Mills gives an overview of Australian author Gary Crew's work, which she describes as 'characterized by doubt' and offering endings which remain unresolved rather than the formulaic 'happy endings' which permeate conventional children's stories (25). Crew has won many literary awards for his children's fiction, however his stories are decidely ambiguous and post-modern in their 'celebration of doubt' (34), which attracts criticism on the grounds that the texts are too 'difficult and demanding for young children' (25). Mills offers a succinct and insightful discussion which explores how Crew's narratives of child-adolescent maturation play with the conventions of the gothic-horror genre by refusing 'the guarantee of a revelation to come' (34). Mills says 'At his strongest, he brings to the reader's notice the human need to make sense of the world. The power of his fiction derives not from him meeting such needs but from playing upon them' (25). -
Review : The Bent-Back Bridge
1996
single work
review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 10 no. 1 1996; (p. 11-12)
— Review of The Bent-Back Bridge 1995 single work children's fiction -
Review : The Bent-Back Bridge
1996
single work
review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , February vol. 40 no. 1 1996; (p. 29)
— Review of The Bent-Back Bridge 1995 single work children's fiction -
[Review] The Bent-Back Bridge
1996
single work
review
— Appears in: Viewpoint : On Books for Young Adults , Autumn vol. 4 no. 1 1996; (p. 36 - 37)
— Review of The Bent-Back Bridge 1995 single work children's fiction
-
Review : The Bent-Back Bridge
1996
single work
review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , February vol. 40 no. 1 1996; (p. 29)
— Review of The Bent-Back Bridge 1995 single work children's fiction -
Review : The Bent-Back Bridge
1996
single work
review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 10 no. 1 1996; (p. 11-12)
— Review of The Bent-Back Bridge 1995 single work children's fiction -
[Review] The Bent-Back Bridge
1996
single work
review
— Appears in: Viewpoint : On Books for Young Adults , Autumn vol. 4 no. 1 1996; (p. 36 - 37)
— Review of The Bent-Back Bridge 1995 single work children's fiction -
Writing on the Edge: Gary Crew's Fiction
1998
single work
criticism
— Appears in: Papers : Explorations into Children's Literature , December vol. 8 no. 3 1998; (p. 25-35) Mills gives an overview of Australian author Gary Crew's work, which she describes as 'characterized by doubt' and offering endings which remain unresolved rather than the formulaic 'happy endings' which permeate conventional children's stories (25). Crew has won many literary awards for his children's fiction, however his stories are decidely ambiguous and post-modern in their 'celebration of doubt' (34), which attracts criticism on the grounds that the texts are too 'difficult and demanding for young children' (25). Mills offers a succinct and insightful discussion which explores how Crew's narratives of child-adolescent maturation play with the conventions of the gothic-horror genre by refusing 'the guarantee of a revelation to come' (34). Mills says 'At his strongest, he brings to the reader's notice the human need to make sense of the world. The power of his fiction derives not from him meeting such needs but from playing upon them' (25).
Last amended 13 Sep 2017 16:13:09
Export this record