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The Bone Clocks
by David Mitchell


Overview - The New York Times bestseller by the author of Cloud Atlas - Longlisted for the Man Booker Prize - Named One of the Top Ten Fiction Books of the Year by Time, Entertainment Weekly, and O: The Oprah Magazine - A New York Times Notable Book - An American Library Association Notable Book - Winner of the World Fantasy Award

Named to more than 20 year-end best of lists, including
NPR - San Francisco Chronicle -The Atlantic- The Guardian -Slate - BuzzFeed

With The Bone Clocks, David] Mitchell rises to meet and match the legacy of Cloud Atlas .
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More About The Bone Clocks by David Mitchell
 
 
 
Overview
TheNew York Timesbestseller by the author ofCloud Atlas- Longlisted for the Man Booker Prize - Named One of the Top Ten Fiction Books of the Year by Time, Entertainment Weekly, and O: The Oprah Magazine- A New York Times Notable Book - An American Library Association Notable Book - Winner of the World Fantasy Award

Named to more than 20 year-end best of lists, including
NPR -San Francisco Chronicle -The Atlantic- The Guardian-Slate - BuzzFeed

With The Bone Clocks, David] Mitchell rises to meet and match the legacy of Cloud Atlas. Los Angeles Times
Following a terrible fight with her mother over her boyfriend, fifteen-year-old Holly Sykes slams the door on her family and her old life. But Holly is no typical teenage runaway: A sensitive child once contacted by voices she knew only as the radio people, Holly is a lightning rod for psychic phenomena. Now, as she wanders deeper into the English countryside, visions and coincidences reorder her reality until they assume the aura of a nightmare brought to life.
For Holly has caught the attention of a cabal of dangerous mystics and their enemies. But her lost weekend is merely the prelude to a shocking disappearance that leaves her family irrevocably scarred. This unsolved mystery will echo through every decade of Holly s life, affecting all the people Holly loves even the ones who are not yet born.
A Cambridge scholarship boy grooming himself for wealth and influence, a conflicted father who feels alive only while reporting on the war in Iraq, a middle-aged writer mourning his exile from the bestseller list all have a part to play in this surreal, invisible war on the margins of our world. From the medieval Swiss Alps to the nineteenth-century Australian bush, from a hotel in Shanghai to a Manhattan townhouse in the near future, their stories come together in moments of everyday grace and extraordinary wonder.
Rich with character and realms of possibility, The Bone Clocksis a kaleidoscopic novel that begs to be taken apart and put back together by a writerTheWashington Postcalls the novelist who s been showing us the future of fiction.
An elegant conjurer of interconnected tales, a genre-bending daredevil, and a master prose stylist, David Mitchell has become one of the leading literary voices of his generation. His hypnotic new novel, The Bone Clocks, crackles with invention and wit and sheer storytelling pleasure it is fiction at its most spellbinding.
Praise for The Bone Clocks
One of the most entertaining and thrilling novels I ve read in a long time. Meg Wolitzer, NPR
Mitchell] writes with a furious intensity and slapped-awake vitality, with a delight in language and all the rabbit holes of experience. The New York Times Book Review
Intensely compelling . . . fantastically witty . . . offers up a rich selection of domestic realism, gothic fantasy and apocalyptic speculation. The Washington Post
A] time-traveling, culture-crossing, genre-bending marvel of a novel. O: The Oprah Magazine
Great fun . . . a tour de force . . . Mitchell] channels his narrators with vivid expertise. San Francisco Chronicle
Mitchell is one of the most electric writers alive. The Boston Globe"

 
Details
  • ISBN-13: 9781400065677
  • ISBN-10: 1400065674
  • Publisher: Random House
  • Publish Date: September 2014
  • Page Count: 624


Related Categories

Books > Fiction > Literary
Books > Fiction > Science Fiction - General
Books > Fiction > Fantasy - General

 
Publishers Weekly Reviews

Publishers Weekly® Reviews

  • Reviewed in: Publishers Weekly, page .
  • Review Date: 2014-06-02
  • Reviewer: Staff

Is The Bone Clocks the most ambitious novel ever written, or just the most Mitchell-esque? We begin in the punk years with a teenage Talking Heads–obsessed runaway from Gravesend, England, named Holly Sykes. She becomes a pawn in a spiritual war between the mysterious "Radio People" and the benevolent Horologists, led by the body-shifting immortal Marinus. Many more characters and places soon find themselves worked into Marinus's "Script" across the book's six sections: there's Hugo Lamb, a cunning, amoral Cambridge student spending Christmas 1991 in Switzerland, where he encounters an older Holly tending bar; then it's the height of the Bush/Blair years, and our narrator is Holly's husband, Edmund Brubeck, a war reporter dispatched to Baghdad. Another flash-forward lands us in the present day, where the middling novelist Crispin Hershey weathers a succession of literary feuds, becomes confidante of a New Agey Holly and her daughter, then has his own unsettling encounter with the Radio People. In the penultimate section, Marinus reveals the nature of the Script—the secret conflict lurking just beneath mortal affairs—and how Holly may be the key to a resolution whose repercussions won't be known until 2043, when the aged Holly rides out a curiously sedate end-time in rural Ireland. From gritty realism to far-out fantasy, each section has its own charm and surprises. With its wayward thoughts, chance meetings, and attention to detail, Mitchell's (The Thousand Autumns of Jacob de Zoet) novel is a thing of beauty. (Sept.)

 
BookPage Reviews

As youth fades, exploring what endures

Given his tendency to experiment with form (in novels such as Cloud Atlas and Ghostwritten), it’s probably no surprise that when we spoke with David Mitchell about his enthralling new book, The Bone Clocks, he had just written a short story to be published 140 characters at a time on Twitter.

“It was an absorbing enterprise,” Mitchell said of the story, “The Right Sort,” which is set in the same world as The Bone Clocks.

The soft-spoken English author isn’t typically active on social media and seems unlikely to dive headlong into the Twitterverse. In conversation, he’s almost the opposite of Twitter: thoughtful, expansive, engaged and generous with his replies. Still, he says, speaking from his home in Cork, Ireland, that Twitter “has the potential for beauty as well as anything else.”

That Mitchell would play with a medium known for its brevity and fleeting nature is especially fitting in light of The Bone Clocks, where time and impermanence are key themes.

The novel centers on Holly Sykes, who is a spirited teen when we meet her in Gravesend, England, in 1984. Holly has a huge fight with her mother that leads to another fight with her boyfriend, and impulsively, she takes off. Furious and heartbroken, she hoofs it along the Thames, not sure where to go. As she’s walking, brief flashbacks reveal that when she was a little girl, Holly heard voices—the Radio People, she called them—until she was cured by a mysterious Dr. Marinus. It soon becomes clear that the Radio People and their strange world have not quite finished with her.

For most of its 620 pages, over several continents and into the year 2043, the novel takes place in a realistic world that is recognizably ours. But strangeness lurks in the margins, where a secret war is going on among a handful of immortal beings with a particular interest in Holly Sykes. Without revealing too much, it’s safe to say that these immortals, or “atemporals,” are defined by youth: Some embody it, others feed on it. The battle at the heart of the book comes down to opposing views of the fair price for eternal youth. How far will someone go to fend off old age and death?

The battle at the heart of the book comes down to opposing views of the fair price for eternal youth. How far will someone go to fend off old age and death?

“It’s my midlife-crisis novel,” Mitchell says, only half-joking. He’s 45, and, he says, “these themes are knocking about in my mind a lot.”

“You have to get choosy about your photographs,” he adds, still joking—sort of. “You look in the mirror and your dad’s looking out at you.”

There’s a point about a third of the way into the book where the pace quickens and suddenly teenage Holly is grown: She has gray in her hair, she’s guarded, she’s a mother, her bones ache. You can’t help wanting to slow everything down—having so recently been so close to young Holly, the jump to an older version registers as a palpable loss. It’s extremely effective—the reader’s response is almost physical. But Holly is still Holly. If anything, she’s better, smarter, tougher. Gradually, the point sinks in: Aging scares us, but it isn’t the loss we imagine.

“We live in a youth- and beauty-adoring society that dismisses age as something of no value,” Mitchell says. “It’s almost a crime to age. And this is wrong, this is no good.”

“We live in a youth- and beauty-adoring society that dismisses age as something of no value,” Mitchell says. “It’s almost a crime to age. And this is wrong, this is no good.”

Writing The Bone Clocks allowed him to address the topics of death and aging in a world that prefers not to discuss it. Western cultures, like the U.S. and U.K., “do some things very, very well, but they’re pretty rubbish at death,” he says. “And the longer our life expectancies have become, the more afraid of it we’ve become. Our culture won’t help us with this. We have to do it individually, one by one by one. We have to make a relationship with death. And in a way The Bone Clocks is one step for me along the path of doing that.”

As Holly goes from teenager to middle-aged author to scrappy grandmother, doing her best to forget what she’s seen of the atemporals and their ongoing war, she crosses paths with some characters who will be familiar to Mitchell’s fans. Dr. Marinus made an appearance in The Thousand Autumns of Jacob de Zoet, and Hugo Lamb, who had a bit part in Black Swan Green, gets a leading role here.

Mitchell brings his characters back for several reasons. “I’ve lived with the people, of course, when I write them, so they never really go away,” he says. “They fade, but I remember they’re there. . . . I like to do it, that’s one reason.”

Secondly, encountering a character you already know adds a sense that what you’re reading is real: “So if you’ve read Black Swan Green already, and you believed in that world, and in walks this guy, the fact that you believed that Black Swan Green was real makes The Bone Clocks feel a degree or two realer.

“Thirdly,” he says, “it’s vanity, in a way.” Mitchell doesn’t want to spend his entire writing life making one huge Middle Earth-size world in a single book. “I’m too much of a magpie.” He prefers to write all different sorts of books. “However,” he adds, laughing, “I am vain enough to kind of want to. And I’ve realized that’s kind of what I’m doing; all of my books are sort of chapters in a greater überbook.”

Did he have a sense while writing Black Swan Green that Hugo might reappear?

“Never,” Mitchell says. “He was only ever a minor character. I’d started The Bone Clocks and then the vacancy came up and I thought, ‘I know who’s about the right age and who has the amoral, Ripley-esque credentials to fill that position.’ So, I invited him to the interview, and within a couple of minutes had decided that the job was his.”

And rightly so: Hugo, with all his charms and weaknesses, his coldness and his capacity to surprise, is an excellent villain. He’s complex, even sympathetic, and he perfectly embodies the icky wrongness of misplaced youth-worship.

He also provides Holly with a nice foil in terms of gender. Mitchell often writes female characters, though he says he does so “cagily and cautiously.”

“It’s a big divide, is the gender divide,” he says. “What gets taken for granted on one side is not necessarily what gets taken for granted on the other.”

Men are “kind of clunkier observers, I feel,” he continues. “And patriarchy does not do us favors. Patriarchy does not teach us to listen as attentively and observe as acutely as I feel that patriarchy obliges women to listen and see. I’ve got more lost ground to make up, as a man, I think.

“I should read more women,” Mitchell adds. “It should be 50-50.”

His reading habits are largely guided by what he’s writing, he says. Some of his well-traveled novels require months or years of research.

“It depends how far away the fictional world is to mine,” he says. “But it’s not a hardship, it’s highly enjoyable to read well-written books by people who know what they’re talking about.”

“You use a tiny fraction of what you learn, of course,” he adds, otherwise the book becomes didactic. “But somehow you still need to know it even if it doesn’t go in the book. You need to know a lot to know what not to put in.”

The idea that characters continue on after their main story ends—that what we’re reading is just a brief window onto a whole life—carries over into the ending of The Bone Clocks. Without, again, revealing too much, the story doesn’t have the tidy conclusion one might expect.

“It’s quite odd, isn’t it?” Mitchell acknowledges. “Well, I suppose one thing is that life does not end after momentous battles. There’s still years to be lived. In biographies of stars, I’m always interested in what happens afterwards, when the light of fame is fading. What do they do with that? That’s more interesting to me in a way than just the blaze.”

“It’s not an obvious ending,” he says. “But I feel it’s—if I can use this word in a book that is shot through with fantasy and the supernatural—it’s a realist ending.”

Ultimately, he says, the book is about survival: “who gets to survive, and why and how, what decisions do you have to make, what compromises do you have to make, and maybe what crimes do you have to commit to survive.”

Author photo by Paul Stuart

This article was originally published in the September 2014 issue of BookPage. Download the entire issue for the Kindle or Nook.

 
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