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No Bones

Paperback / softback

Main Details

Title No Bones
Authors and Contributors      By (author) Anna Burns
Physical Properties
Format:Paperback / softback
Pages:336
Dimensions(mm): Height 198,Width 129
Category/GenreModern and contemporary fiction (post c 1945)
ISBN/Barcode 9780006552383
ClassificationsDewey:823.92
Audience
General

Publishing Details

Publisher HarperCollins Publishers
Imprint Flamingo
Publication Date 15 April 2002
Publication Country United Kingdom

Description

SHORTLISTED FOR THE ORANGE PRIZE FOR FICTION 2002 A stunning debut novel about a little girl growing up in Belfast, from the author of the Man Booker Prize winning novel, Milkman. 'Marvellous: shocking, moving, evocative' Daily Mail Every single night and every single day Amelia goes upstairs to look at her treasure: a miniature plastic sheep, a Black Queen chess piece, a penny prayer for serenity, a tube of glitter - and thirty-seven black rubber bullets she's collected ever since the British Army started firing them...

Author Biography

anna burns was born in Belfast in 1962. She moved to London in 1987. This is her first book.

Reviews

'Fresh, original shot through with energy and drama right from the start' The Times 'Amelia Lovett is just an ordinary little girl caught up in extraordinary circumstances. No Bones tracks the tragi-comic fortunes of the Lovett family of Belfast - the shrewdly mad mother; malevolent Mick; and dreamy Amelia, our narrator, who records their antics over the years. Anna Burns recreates the dark days beautifully and evokes the spirit of the times with compassion and understanding No Bones gives an insight into a difficult and dangerous period of our history from a refreshing point of view and speaks the truth in a way that only a child can do.' Irish News 'The use of language is stunning, powerful and controlled the story of Amelia's struggle for sanity is compelling.' Daily Telegraph 'This account of a girl's life growing up in Belfast during the Troubles, which examines madness and sanity and questions our interpretation of both, is scary. Scarily well written, too.' Martina Devlin, Irish Independent