This was without question one of the most gripping novels I've read in many a day. I first ran across this work in a brief mention by British travel writer/popular historian James Morris, where he thought it akin to the gulag novels of post-Stalinist Russia in subject matter and philosophical content. Add to that a wealth of striking narrative detail, immensely memorable characters (Maurice Frere, Sarah Purfoy, and particularly James North leap to mind), some truly transporting (no pun intended) and incredibly creepy passages, mind-blowing plot twists and turns, and a persistent refusal to provide too pat solutions to characters' problems... Clarke wasn't better than Dickens or Eliot, but neither of the latter could have written this book.

Clarke's masterpiece was published in 1874, after being serialized in 1870-72. Critics have lambasted a few of the less believable elements and some of the pat characterization of a number of supporting characters, but these are flaws to be found in most novels of that time (and ours). Clarke redeems himself by taking the cliches and mannerisms of the nineteenth-century English novel and using them to illuminate a whole new society, one practically mythical to the metropolitan consciousness of the Victorian Anglophone world. This work is a great counterpoint to all those English novels of the day where the hero or villain gets packed off to the antipodes and returns mysteriously changed. The main thrust of the novel, though, was the need to tell the true story of (white) Australian society's beginnings. Clarke, in telling the story of the unjustly convicted Rufus Dawes (aka Richard Devine), provides a panoramic view of early Victorian Australia, from the hellish convict settlements of Macquarie Harbor and Norfolk Island to the nascent frontier towns of Hobart and Melbourne, from the aging memories of the "First Fleeters" (the original convicts who arrived in 1788) to the controversial Eureka Stockade Uprising of 1854. The narrative frequently moves at a deliciously whirlwind pace to accomodate the exciting interaction of characters and history.

Clarke's novel is generally cited as nineteenth-century Australia's greatest and points the way towards more nuanced examinations of the colonial experience in the twentieth century (Peter Carey's JOE MAGGS, about the "off-stage" life of Dickens antihero Abel Magwitch, is apparently very much in this vein). Don't read it just for this reason, though. Please be sure to find the longer, original version, as I was fortunate enough to do. Clarke was forced to produce a revised, shortened version for the original publication, one dictated by his editors that turned the novel into a much more "conventional" Victorian literary production (and has a longer title--FOR THE TERM OF HIS NATURAL LIFE). I understand a TV series was made in the mid-80s with Anthony Perkins as North. If this was the case, then it badly needs to be remade on celluloid, because I can't seem to find the series. It's a magnificent novel whose flaws, I think, are amply counterbalanced by its unexpected joys.

The well-known phrase 'for the term of his natural life' is used by Marcus Clarke to bring home the horrors of transportation and the Tasmanian penal system in the 19th century.
Richard Devine, an innocent man (under an assumed name of Rufus Dawes) convicted of a crime he did not commit, is sent for transportation and assumed killed in a shipwreck. In reality, he is heir to a vast estate (unbeknown to him) and the convolutions of the tale that evolve from this are wonderfully written; the gradual demolishing of Dawes, the unspeakable duality of Frere, the calculating guile of Sarah and the gullible innocence of Sylvia are woven together in a plot that does not end happily ever after. This I think, serves to underline the barbarism and futility of the transportation system.
Based on actual events, Clarke uses his 'hero' to illustrate the depravation and privations that prisoners (and their guards) had to endure. Graphically showing how degradation degrades and power corrupts, the narrative never dwells on gruesome details, instead it relies for effect on the imagination of the reader, which can be more terrifying.
A book that deserves a wider readership.

It's a collation of events by various persons involved in the penal settlement of early Australia. Marcus Clarke has interwoven these events into a novel of fiction. These are stark facts; and show, as far as I've researched, very detailed. L.P. Hartely said it all,in this case.."The past is a foreign country.They do things differently there." The more you read on, the more you want to know..

Clark's writings in this book give you an insight into penal life in Australia's early history. His writing style gives you an empathy with the characters,and his descriptons of the Port Arthur site make you feel as if you are there. Some time later I visited Port Arthur, and Clark's writings came back. When you have been there you realise how good the book is.

I am planning a trip to Tasmania and it was recommended that I read Clarke's epic tale. It is one of inspiration and great character and describes life, the conditions and environment in which those men and women suffered. I am particularly looking forward to visiting Sarah Island and Port Arthur so I can get a taste of what those people (both innocent and guilty) had to endure. Definately recommended reading for those planning a holiday to Tassie!

This book is a novel that reads like history. It offers interesting insights of the history of Tasmania. This book is an Australian classic. Highly recommended.