About the Author:
John Boyne is author of the adult novel Crippen as well as the New York Times and internationally bestselling children's novel The Boy in the Striped Pajamas. He has taught creative writing at the Irish Writers' Centre and at the University of East Anglia in the United Kingdom. In 2005, Crippen was nominated for the Sunday Independent Hughes & Hughes Irish Novel of the Year Award. Boyne has also been awarded the Curtis Brown Prize, shortlisted for a Hennessy Literary Award, and shortlisted for the Ottakar's Children's Book Prize and Italy's Paolo Ungari Literary Award for The Boy in the Striped Pajamas. Boyne's work has been translated into twenty-one languages. He lives with his partner in Dublin.
From Publishers Weekly:
Published in the U.K. before his hits Crippen and The Boy in the Striped Pajamas, this novel sails similarly historical currents with mixed results. Matthieu Zela is 256 years old in 1999, but doesn't look a day over 50. (Bafflingly—to himself, too—he simply stopped aging.) Loquacious Matthieu crisscrosses the centuries with wry, autobiographical narration, moving from his current incarnation as a satellite TV entrepreneur in London to his coming-of-age in the 1750s, when he leaves Paris for England with his young half-brother Tomas in tow and meets his one true love, Dominique Sauvet. Matthieu's one deep regret, however, isn't romance-related: of the 10 generations of Thomases descended from his brother, each has had his life cut short, "either by his own stupidity or by the machinations of the times." Matthieu's current nephew, Tommy, a wildly popular soap opera star, is a heroin addict and not long for this world. Matthieu vows to prevent his too-early demise. In between, Matthieu shares too predictable highlights from his brushes with world events (the French Revolution, the 1929 stock market crash, etc.) and famous people (Pope Pius IX, Charlie Chaplin, the Rosenbergs). The picaresque nature of this hopscotch through history's hot spots suits Boyne's big-canvas talent, but Matthieu, in his unexplained immortality, is more like a storytelling device than a fully realized character. This novel is not a follow-up but a practice run. (Mar.)
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