"Part thriller, part fable, "The Wrong Hands "has elements of magic
realism reminiscent of "Skellig "and a teenage narrator with the
kind of ingenue voice that marked "The Curious Incident of the Dog
in the Night-Time," . . . An intriguing read."--"The Sunday
Telegraph "(London)
"Hugely entertaining."--"The Independent "(U.K.)
"Sharp and knowing and funny."--"The Sunday Times "(U.K.)
" Part thriller, part fable, "The Wrong Hands "has elements of
magic realism reminiscent of "Skellig "and a teenage narrator with
the kind of inge nue voice that marked "The Curious Incident of the
Dog in the Night-Time," . . . An intriguing read." -- "The Sunday
Telegraph "(London)
" Hugely entertaining." -- "The Independent "(U.K.)
" Sharp and knowing and funny." -- "The Sunday Times "(U.K.)
"Part thriller, part fable, "The Wrong Hands has elements of magic
realism reminiscent of "Skellig and a teenage narrator with the
kind of ingenue voice that marked "The Curious Incident of the Dog
in the Night-Time. . . . An intriguing read."--"The Sunday
Telegraph (London)
"Hugely entertaining."--"The Independent (U.K.)
"Sharp and knowing and funny."--"The Sunday Times (U.K.)
This lush tale of magical realism is rendered all the more charming by the lively and, at times, mesmerizing Yorkshire accent conjured by theater-trained narrator Morton. Even his breathing seems tinged with a cockney sound. Morton easily animates 14-year-old Graham Sinclair a provincial kid with deformed hands and a secret, struggling to make sense of an increasingly hectic modern world. After saving a baby from a plane crash in London, Graham finds his life populated by various characters, some of them less than savory. Morton does an admirable job of impersonating them through Graham's offbeat perspective, though American ears may detect little difference between certain accents. Richardson's prose is soaring and Technicolor, peppered with youth slang, Briticisms and outlandish metaphor. But Morton doesn't let himself get carried away with the oft-wondrous language. Instead, he delivers a singular voice that's both grounded and free-floating, and may well resonate long after the tale has ended. Ages 13-up. (Aug.) Copyright 2006 Reed Business Information.
"Part thriller, part fable, "The Wrong Hands "has elements of magic
realism reminiscent of "Skellig "and a teenage narrator with the
kind of ingenue voice that marked "The Curious Incident of the Dog
in the Night-Time," . . . An intriguing read."--"The Sunday
Telegraph "(London)
"Hugely entertaining."--"The Independent "(U.K.)
"Sharp and knowing and funny."--"The Sunday Times "(U.K.)
" Part thriller, part fable, "The Wrong Hands "has elements of
magic realism reminiscent of "Skellig "and a teenage narrator with
the kind of inge nue voice that marked "The Curious Incident of the
Dog in the Night-Time," . . . An intriguing read." -- "The Sunday
Telegraph "(London)
" Hugely entertaining." -- "The Independent "(U.K.)
" Sharp and knowing and funny." -- "The Sunday Times "(U.K.)
"Part thriller, part fable, "The Wrong Hands has elements of magic
realism reminiscent of "Skellig and a teenage narrator with the
kind of ingenue voice that marked "The Curious Incident of the Dog
in the Night-Time. . . . An intriguing read."--"The Sunday
Telegraph (London)
"Hugely entertaining."--"The Independent (U.K.)
"Sharp and knowing and funny."--"The Sunday Times (U.K.)
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