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The Bone Clocks: A Novel Paperback – June 16, 2015
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An Amazon Best Book of the Month, September 2014: Fans of David Mitchell (Cloud Atlas, Black Swan Green, The Thousand Autumns of Jacob De Zoet) have been salivating over the release of The Bone Clocks —and they have every reason to. This is a feast of a book—perhaps the author’s best to date—a saga that spans decades, characters, genres, and events from Mitchell's other novels. The structure is most similar to Cloud Atlas, with The Bone Clocks pivoting around a central character: Holly Sykes. Each chapter/novella is narrated from the perspective of an intersecting character, with settings ranging from England in the 80s to the apocalyptic future. Each story could stand alone as a work of genius, as they slowly build on Holly’s unwitting role in a war between two groups with psychic powers, culminating in a thrilling showdown reminiscent of the best of Stephen King. Taken together this is a hugely entertaining page-turner, an operatic fantasy, and an often heartbreaking meditation on mortality. It’s not to be missed. – Matt Kaye--This text refers to the Hardcover edition.
“One of the most entertaining and thrilling novels I’ve read in a long time.”—Meg Wolitzer, NPR
“Astonishing . . . No one, clearly, has ever told [David] Mitchell that the novel is dead. He writes with a furious intensity and slapped-awake vitality, with a delight in language and all the rabbit holes of experience. . . . In his sixth novel, he’s brought together the time-capsule density of his eyes-wide-open adventure in traditional realism with the death-defying ambitions of Cloud Atlasuntil all borders between pubby England and the machinations of the undead begin to blur. . . . Not many novelists could take on plausible Aboriginal speech, imagine a world after climate change has ravaged it and wonder whether whales suffer from unrequited love. . . . Very few [writers] excite the reader about both the visceral world and the visionary one as Mitchell does.”—The New York Times Book Review (Editor’s Choice)
“Intensely compelling . . . fantastically witty . . . offers up a rich selection of domestic realism, gothic fantasy and apocalyptic speculation.”—The Washington Post
“Sprawling yet disciplined, drunk on life but ever cognizant of its brevity and preciousness, this time-traveling, culture-crossing, genre-bending marvel of a novel by the highly regarded author of Cloud Atlas utterly beguiles.”—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. To open a Mitchell book is to set forth on an adventure. . . . In his latest novel, The Bone Clocks, Mitchell has spun his most far-flung tale yet. . . . Strange and magical.”—The Boston Globe
“Magical . . . [The Bone Clocks] perfectly illustrates the idea that we’re all the heroes of our own lives as well as single cogs in a much larger and more beautiful mechanism. [Grade:] A”—Entertainment Weekly
“Transportingly great . . . If David Mitchell isn’t the most talented novelist of his generation, is there any doubt that he is the most multi-talented? He is, at his best, a superior writer to Jonathan Franzen, a better storyteller than Michael Chabon, more wickedly clever than Jennifer Egan, nearly as fluent as Junot Díaz in multiple dialects, and as gifted as Alice Munro. . . . The Bone Clocks affords its readers the singular gift of reading—the wish to stay put and to be nowhere else but here.”—The Atlantic
“Mitchell’s mesmerizing saga is evidence of the power of story to transport us, and even to stop time entirely.”—Vanity Fair
“[A] literary marvel . . . What we value defines us, The Bone Clocks tells us. Sometimes it’s life. Sometimes it’s love. It’s definitely this book.”—The Miami Herald
“Mitchell’s wit, imagination and gorgeous prose make this a page-turner.”—People
“Mind-bendingly ambitious . . . The force of [Mitchell’s] storytelling makes The Bone Clocks a joy.”—Time
“A tour de force of the imagination, rewarding the attentive reader with both the intricate richness of its plot and the beauty of its language.”—The Plain Dealer
“Told with the skill and nuance of a gifted ventriloquist.”—USA Today
“Mitchell rises to meet and match the legacy of Cloud Atlas.”—Los Angeles Times
“Reading a David Mitchell novel is a little like wandering through a multiplex during that September sweet spot when the best summer blockbusters are screened alongside autumn’s more serious fare. The Bone Clocks is no exception. Mitchell’s generous imagination saturates every sentence, character, and setting to create a story as thrilling in its language as in its plot. It’s my favorite novel I’ve read this year, and the only one I’ve already reread.”—Anthony Marra
“Great story, great words, all good.”—Stephen King
“A hell of a great read . . . wild, funny, terrifying . . . a slipstream masterpiece all its own . . . Mitchell is a genre-bending, time-leaping, world-traveling, puzzle-making, literary magician, and The Bone Clocks is one of his best books.”—Esquire
“Mitchell is a superb storyteller. . . . One of the reasons he is such a popular and critically lauded writer is that he combines both the giddy, freewheeling ceaselessness of the pure storyteller with the grounded realism of the humanist. There’s something for everyone, traditionalist or postmodernist, realist or fantasist.”—The New Yorker
“Relentlessly brilliant . . . [The Bone Clocks contains] depth and darkness, bravely concealed with all the wit and sleight of hand and ventriloquistic verbiage and tale-telling bravura of which Mitchell is a master.”—Ursula K. Le Guin, The Guardian
“You could call Mitchell a global writer, I suppose, but that does not quite capture what he is doing. It is closer to say that he is a pangaeic writer, a supercontinental writer.”—New York
“With The Bone Clocks [Mitchell] has brought off his most sinewy, fine and full book to date, a Möbius strip–tripping great novel that will reward bleary-eyed rereading until he writes his next one.”—Financial Times
“Dazzling . . . Mitchell’s heavy arsenal of talents is showcased in these pages: his symphonic imagination; his ventriloquist’s ability to channel the voices of myriad characters from different time zones and cultures; his intuitive understanding of children and knack for capturing their solemnity and humor; and his ear for language—its rhythms, sounds and inflections.”—Michiko Kakutani, The New York Times
“As you might expect from a David Mitchell novel, [The Bone Clocks is] big, ambitious, and pretty. But it’s very much the story of one woman: Holly Sykes. Her tiny human life is the thread that holds the various stories of The Bone Clocks together, and ultimately it is what gives the book a deep sense of meaning, and its lasting joys and sorrows.”—The Millions
“[The Bone Clocks] might just become the 1984 of the climate change movement. It dramatizes the consequences of our improvident modern economy in the way George Orwell’s novel awakened people to the ‘Big Brother’ mentality of Soviet communism.”—David Ignatius, The Washington Post
“[The Bone Clocks] enthralls, soars, and crackles.”—The Daily Beast
“Mitchell is back and as genre-bendy as ever. Describing the breadth of his latest epic as ‘sprawling’ wouldn’t quite do it justice.”—The Huffington Post
“Deeply meaningful . . . The Bone Clocks has everything you might expect to find in a David Mitchell novel: Great characters in settings far-flung over space and time, all tied together by ambitious ideas and gorgeous writing.”—BuzzFeed
“Mitchell may be the greatest novelist in the English language currently in his prime.”—The A.V. Club
“A fascinating and moving book about time, technology and even the ‘State of the World.’”—The Dallas Morning News
“Mitchell is a brilliant literary mesmerist. . . . He writes with scintillating verve and abundance. . . . [Mitchell’s is a] joyful, consoling world.”—The Telegraph
“A fantastic, perilous journey over continents and decades. Fans of Mitchell’s Cloud Atlas will find this equally ambitious and mind-bending.”—Marie Claire
“[A] beautiful explosion of adventurous ideas . . . As [Mitchell’s] oeuvre develops, he seems to be getting cleverer, braver and delightfully madder.”—The Times
“Fantastical, ambitious, bold and exuberant.”—The Observer
“A sweeping epic . . . that, like Cloud Atlas, spans the ages and tinkers with the hidden gears of human history.”—GQ
“A cautionary metaphysical thriller that grounds its ambition in its heroine’s human charm.”—Vogue
From the Hardcover edition.
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Top Customer Reviews
Does this happen with THE BONE CLOCKS, Mitchell's latest foray into fantasy? To an extent, yes. And do we forgive him his excesses like we would a favorite yet incorrigible son's? To an even greater extent, yes again. The book's first section, "A Hot Spell," leaps out of the starting blocks with an irresistibly beguiling lead, one Holly Sykes, and after the first 100 pages you feel like Holly's adventures with "the Radio People" and her brushes with paranormal beings will be the fastest read you've picked up in many a year.
Not quite. From here, in typical Mitchell fashion, we meet different lead characters in different sections marching forward in time -- sections where Holly surfaces to various degrees of importance -- and the new characters are not always as intriguing as Holly. Mitchell also finds side-narratives, like an extended one into Iraq where he can share his opinions about that war, George Bush, Tony Blair, etc., irresistible. Meanwhile, a fantasy is trying to be born and experiencing a prolonged labor. Will the baby be blue when it's finally delivered? That is the question as Mitchell stretches out the tease so deftly set during the fast start and the reader keeps saying, "Yes! I love the idea of a battle to the finish between two groups of warring paranormal beings with Holly in the middle, so take me there! Quickly! Let's go!"
Not so fast. Mitchell WILL get there in the penultimate section and it WILL be most satisfying, but he'll do it in his own desultory fashion. Meanwhile, with the plot on the back burner through the sizable middle parts, the reader is left to appreciate Mitchell's considerable writing talents. So yes, the 620 pages could use an editor but, unlike with beginning writers, the cutting room floor would not exactly be strewn with expendable prose if you took the shears to Mitchell's latest. In the end, despite having the climax before the last section and despite padding the book with a last 75 pages of "denouement," the reader sighs, shakes his head, forgives, and says, "Well done, David. Bravo! You may go overboard, but your brand of overboard is still more fun than many another current writer's precision-cut efforts, so there."
Overall, then, a fantasy that tries and then comforts your patience. The plot will reward, you just have to take the long and winding road and enjoy the journey. If you're a Mitchell fan, you'll even be rewarded with cameos by past characters from previous books. Such are the indulgences a talent like Mitchell can take. Such are the indulgences a genre like fantasy allow. Eureka, as they used to say. I have found another good, if not great, David Mitchell book!
His latest novel, though, DOES work. It seems to have been constructed on much the same principles. Once again, there are six 100-page sections, moving forward in time, each apparently with a different protagonist. The first, in 1984, introduces us to Holly Skyes, a 15-year-old runaway, leaving her home in North Kent after a row with her mother and a betrayal by her boyfriend. Holly is a plucky character with a marvelous voice; we have her in our hearts as she discovers the difficulties of life on the run as well as surprising acts of kindness. The second part, in 1991, has another protagonist, Hugo Lamb, a Cambridge undergraduate with a shady secret life, but the charm to carry it off. Holly reappears as a minor character at the end of his story too. Indeed, she will return in the next part, featuring an award-winning Iraq War journalist in 2004, and the one after that, in 2015, whose dubious hero is an egocentric once-famous novelist. [Why is it that, when writing about other members of their profession, authors turn to this kind of incestuous comedy? Here, and only here, I felt my interest wearing thin.]
But the connections between the novellas are more pervasive than just the presence of Holly (who emerges as the undisputed heroine overall). Mitchell keeps on inserting sly references to his previous books, for instance in the name of a restaurant or a peripheral character, giving the sense that everything is connected in unseen ways. As though there were a layer beyond the one we see. And indeed we begin to catch brief glimpses of something paranormal, something inexplicable in everyday terms. Normally I am no fan of fantasy, but Mitchell held me from the start because, in each of these first four stories, the supernatural elements were no more than 5-10% of the whole, embedded in realistic writing peopled with characters who always engaged my interest.
With the fifth (and longest) part, though, everything changes. Set in 2024, this is outright fantasy adventure, the kind of thing Tolkien might have written if he had read a little Dan Brown or Stephen King and, determined to outdo them, had moved from his customary Middle Earth to Manhattan and thence to the Swiss Alps. The various supernormal figures we have glimpsed in the wings now take center stage as they prepare for a cataclysmic conflict. Not generally my thing at all, but I was held spellbound, largely because Mitchell's storytelling does not become any less textured and nuanced when writing about a world beyond our normal experience.
All the same, I was glad to get back to the humanity and simplicity of the last section, which is just about as straightforward as could be. Set in the southwest of Ireland in 2043, it is a vision of a rapidly collapsing future that is ecologically, politically, and socially all too believable. I had found the futuristic sections of CLOUD ATLAS hard to get into because they lacked sufficient connection to the world I knew. But here are characters we have come to care about, coping with the coming Endarkenment as best they know how, by keeping the fox out of the chicken run and caring for family and neighbors.
It must be something in the Zeitgeist, for there have been a number of big novels recently that have combined meticulous realism with some kind of otherworldly element. You could think of William Boyd's WAITING FOR SUNRISE, Kate Atkinson's LIFE AFTER LIFE, Marisha Pessl's NIGHT FILM, or (writing of a different century) Eleanor Catton's THE LUMINARIES. I have not liked all of these equally well, especially where I felt the non-realistic aspects eroding my sympathies. But Mitchell is brilliant here in the restraint with which he introduces them. And he is inspired in allowing his long and complex novel to come back to earth with those qualities that really matter: love, character, and the simple business of living.