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{{Short description|1984 novel by Keri Hulme}}
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'''''The Bone People''''', styled by the writer and in some editions as '''''the bone people''''',<ref name="Welham">{{cite news |last1=Welham |first1=Keri |title=Keri Hulme: Bait expectations |url=https://www.stuff.co.nz/entertainment/books/103196530/keri-hulme-bait-expectations |access-date=10 July 2022 |work=[[Stuff (website)|Stuff]] |date=2004}}</ref><ref>{{cite book|last=English |first=James F. |title=Prizes, Awards, and the Circulation of Cultural Value |year=2005 |publisher=Harvard University Press |location=Cambridge, Massachusetts |isbn=978-0-674-01884-6 |at=p. 389, footnote 27| quote=I have followed Hulme is using all lowercase letters for the book's title, although later editions and critical discussions of the book have not always done so |url=https://books.google.com/books?id=vY3UOFDA2sAC&q=%22bone+people%22+lowercase&pg=PA389}}</ref> is a 1984 novel by New Zealand writer [[Keri Hulme]]. Set on the coast of the [[South Island]] of New Zealand, the novel focuses on three characters, all of whom are isolated in different ways: a reclusive artist, a mute child, and the child's foster father. Over the course of the novel the trio develop a tentative relationship, are driven apart by violence, and reunite. [[Māori culture|Māori]] and [[Pākehā]] (New Zealand European) culture, myths and language are blended through the novel. The novel has polarised critics and readers, with some praising the novel for its power and originality, while others have criticised Hulme's writing style and portrayals of violence.
Hulme spent many years working on the novel, but was unable to find a mainstream publisher
==Plot summary==
Kerewin lives in a tower overlooking the sea on the coast of the [[South Island]]. She is isolated from her family and interacts little with the local community, but is able to live independently after winning a lottery and investing well. On a stormy afternoon, a young child, Simon, appears at the tower. He is mute and communicates with Kerewin through hand signals and notes. He is picked up the next morning by a family friend; later that evening Simon's foster father, Joe, visits Kerewin to thank her for looking after Simon. After a freak storm years earlier, Simon was found washed up on the beach with very few clues as to his identity. Despite Simon's mysterious background, Joe and his wife Hana took the boy in. Later, Joe's infant son and Hana both died, forcing Joe to bring the troubled and troublesome Simon up on his own.
Kerewin finds herself developing a tentative relationship with the boy and his father. Gradually it becomes clear that Simon is a deeply traumatised child, whose strange behaviours Joe is unable to cope with. Kerewin discovers that, in spite of the real familial love between them, Joe is physically abusing Simon. Horrified, she initially says nothing to Joe, but suggests they travel to her family's [[Bach (New Zealand)|bach]] (holiday home) by the beach for a break. Early on in their stay she confronts Joe and asks him to go easier on Simon. Joe and Kerewin argue, and after Simon spits at Joe, she intervenes to stop Joe from beating him, using her [[aikido]] skills. Following the incident, Joe promises not to beat Simon without her permission. They spend the rest of their time at the beach fishing, talking and drinking.
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After returning home from the holiday, Simon sees the aftermath of a violent death and seeks Kerewin out for support, but she is angry with him for stealing one of her prized possessions. Simon reacts by punching her; she instinctively hits him in the chest and in response he kicks in the side of her guitar, a gift from her estranged mother. Kerewin tells him to get out. Simon goes to the town and breaks a series of shop windows, and when he is returned home by the police Joe calls Kerewin, who gives Joe permission to beat the child (but tells him not to "overdo it"). Joe beats Simon severely, believing he has driven Kerewin away. Simon, who has concealed a shard of glass from a shop window, stabs his father. Both are hospitalised, with Simon falling into a coma. Joe is released quickly but sent to prison for three months for child abuse, and in the meantime Kerewin leaves town and demolishes her tower.
Simon eventually recovers, albeit with some loss of hearing and brain damage, and is sent to live in foster care against his wishes. He is unhappy and continually runs away, trying to get back to Joe and Kerewin. After Joe's release from prison, he travels aimlessly. He jumps off a cliff and nearly kills himself, but is rescued by
Kerewin returns to her community and takes custody of Simon. Joe also returns, bringing with him the sacred spirit. Without Kerewin's knowledge or permission, he contacts Kerewin's family, resulting in a joyous reconciliation. The final scene of the novel depicts the reunion of Kerewin, Simon and Joe, celebrating with family and friends back at the beach where Kerewin has rebuilt the old [[marae]] (communal meeting house) and rebuilt her home, not as a tower but in the shape of a shell with many spirals.
==Themes and characters==
[[File:Keri Hulme with a tiny catch of whiebait.jpg|thumb|Author [[Keri Hulme]] with a catch of [[whitebait]] at [[Ōkārito]]; the character Kerewin Holmes has similarities to Hulme]]
The novel focuses on three main characters, all of whom are isolated in different ways.<ref name="Bluffer">{{cite web |title=Bluffer's guide to The Bone People by Keri Hulme |url=https://www.read-nz.org/aotearoa-reads-details/bluffers-guide-to-the-bone-people-by-keri-hulme |website=Read NZ Te Pou Muramura |access-date=11 July 2022 |date=15 May 2014 |archive-date=22 November 2022 |archive-url=https://web.archive.org/web/20221122104802/https://www.read-nz.org/aotearoa-reads-details/bluffers-guide-to-the-bone-people-by-keri-hulme |url-status=dead }}</ref><ref name="Oxford Bone">{{cite encyclopedia |last1=Worthington |first1=Kim |editor1-last=Robinson |editor1-first=Roger |editor2-last=Wattie |editor2-first=Nelson |encyclopedia=The Oxford Companion to New Zealand Literature |title=bone people, the |url=https://www.oxfordreference.com/view/10.1093/acref/9780195583489.001.0001/acref-9780195583489-e-140 |access-date=12 July 2022 |date=2006 |publisher=[[Oxford University Press]] |isbn=978-0-1917-3519-6 |oclc=865265749 |doi=10.1093/acref/9780195583489.001.0001
* '''Kerewin Holmes''' – Kerewin lives in an isolated tower by the sea, estranged from her family and community. She is part-Māori, part-[[Pākehā]], and [[Asexuality|asexual]]. She is skilled, knowledgeable and creative, but although seeing herself as a painter finds herself unable to paint.{{sfn|Dale|1985|pp=414–415}} At the outset of the novel she spends her days fishing and drinking. She is often preparing food or eating, which links the novel to traditional Māori storytelling themes of food and its preparation.{{sfn|Knudsen|2004|p=136}} She has been described as a "clear stand-in for the author".<ref name="Jordison"/> Hulme said that Holmes began as an alter-ego character but "escaped out of my control and developed a life of her own".<ref name="Oxford Hulme"/>
*'''Simon P. Gillayley''' – Simon is a mute child, aged six or seven, with an immense interest in details of the world around him. Simon has a deep attachment to both Joe and Kerewin, but he shows his love in odd ways. He exhibits a disregard for personal property. He is isolated from others by his inability to speak, and others mistake his muteness for stupidity. His life before meeting Joe is never described in detail, although it is hinted that he was abused before meeting Joe. He is Pākehā, with blonde hair and blue eyes.
*'''Joe Gillayley''' – Joe is Simon's foster father. His alcoholism clouds his judgement, particularly in his raising of Simon, who he physically abuses. Joe seems to both love and respect Kerewin, but also to compete with her. He is deeply scarred and isolated by the death of his wife and infant child, and is disconnected from his Māori heritage.
The relationship between these three troubled characters is characterised by violence and difficulty in communicating.{{sfn|Melhop|1999|p=99}} Violence, pain and suffering appear frequently in the novel, most notably through Joe's beating of Simon, but also through the characters' spiritual pain and isolation.{{sfn|Dale|1985|p=419}} Both Kerewin and Joe are estranged from their Māori heritage and identity, and both have lost their families.{{sfn|Abdelghany|2013|pp=187, 192}}{{sfn|Knudsen|2004|p=135}} All three characters experience near-death experiences over the course of the novel.{{sfn|Dale|1985|p=419}} Some critics have described Simon as a [[Christ]]-like figure in his suffering and his salvation of Joe and Kerewin, although Hulme herself has rejected this comparison, saying "none of his suffering is for anyone else".{{sfn|Dale|1985|p=420}}{{sfn|Knudsen|2004|p=145}}{{sfn|Armstrong|
Over the course of the novel the three characters bond and become "the bone people". In [[Māori language|Māori]], the term [[iwi]], usually referring to a tribal group, literally means "bone". Thus, in the novel, Simon imagines Joe saying the phrase "{{Lang|Mi|E nga iwi o nga iwi}}", which the book's glossary explains: "It means, O the bones of the people (where "bones" stands for ancestors or relations), or, O the people of the bones (i.e. the beginning people, the people who make another people)."{{sfn|Hulme|1984|p=546}}<ref name="WaPo">{{cite news |last1=Ward |first1=Elizabeth |title=A First Novel of Sweeping Power |url=https://www.washingtonpost.com/archive/entertainment/books/1985/12/01/a-first-novel-of-sweeping-power/75d3d578-0e73-46c8-99a8-b3e36c78dd55/ |access-date=11 July 2022 |newspaper=The Washington Post |date=1 December 1985}}</ref> Each character represents aspects of New Zealand's racial culture.{{sfn|Melhop|1999|p=99}} Through their love of Simon and acceptance of Māori myth into their lives, Joe and Kerewin are able to transform themselves.{{sfn|Abdelghany|2013|pp=198–199}} The ''Oxford Companion to New Zealand Literature'' describes the three as becoming "a new multicultural group, founded on Māori spirituality and traditional ritual, who offer transformative hope to a country stunted by the violence of its divided colonial legacy".<ref name="Oxford Bone"/>
The relationship between Joe and Kerewin is not a sexual one, although Joe does consider Kerewin as a possible partner and the two form a close bond that is akin to a romantic relationship or a parental one with Simon.{{sfn|Dale|1985|p=423–425}} At the end of the book Joe and Simon take her last name, not for sentimental reasons but for what Kerewin describes as "good legal sense".{{sfn|Dale|1985|p=426}} Critic [[C.K. Stead]] has said he considers this to be the "imaginative strength" of the work: "that it creates a sexual union where no sex occurs, creates parental love where there are no physical parents, creates the stress and fusion of a family where there is no actual family".{{sfn|Stead|1985|p=104}}
The spiral form frequently appears as a symbol throughout the novel, and is linked to the [[koru]] as an "old symbol of rebirth" in Māori culture.{{sfn|Hulme|1984|p=55}}{{sfn|Abdelghany|2013|p=190}}{{sfn|Knudsen|2004|pp=141}} An early review by New Zealand writer and academic [[Peter Simpson (writer)|Peter Simpson]] noted how particularly apt it was for the book to have been published by the Spiral collective, because "the spiral form is central to the novel's meaning and design; it is in effect the code of the work informing every aspect from innumerable local details to the overall structure".<ref>{{cite web |title=Does The Bone People cut it as a Kiwi classic? |url=https://www.read-nz.org/aotearoa-reads-details/does-the-bone-people-cut-it-as-a-kiwi-classic |website=Read NZ Te Pou Muramura |access-date=11 July 2022 |date=30 April 2014 |archive-date=11 July 2022 |archive-url=https://web.archive.org/web/20220711015515/https://www.read-nz.org/aotearoa-reads-details/does-the-bone-people-cut-it-as-a-kiwi-classic |url-status=dead }}</ref> It represents the sense of community, cultural integration and open-endedness that gives the characters hope at the end of the novel.{{sfn|Dale|1985|pp=420–421}}{{sfn|Melhop|1999|p=99}}{{sfn|Knudsen|2004|p=128}}
==Style==
The novel is divided into four sections of three parts each,{{sfn|Dale|1985|p=413}} loosely covering the four seasons of a year.{{sfn|Knudsen|2004|pp=141}} Much of the narration is from the perspective of Kerewin, and predominantly in the third-person, but some sections are told from the perspective of Joe or Simon, including those sections which relate to Joe's violent beating of Simon.{{sfn|Dale|1985|pp=416–417}} The prose is often in a [[stream of consciousness]] or poetic style denoting characters' inner thoughts.<ref name="Mita">{{cite journal |last1=Mita |first1=Merata |title=Indigenous Literature in a Colonial Society |journal=The Republican |date=November 1984 |pages=4–7 |url=https://medium.com/spiral-collectives/indigenous-literature-in-a-colonial-society-by-merata-mita-265b48d78cac |access-date=17 October 2022}}</ref>{{sfn|Knudsen|2004|pp=141}} It also incorporates use of the Māori language, usually untranslated in the text,{{sfn|Fee|1989|p=17}} but with a glossary at the back of the book.{{sfn|
''The Oxford Companion to New Zealand Literature'' observes that the novel requires active concentration from the reader, given the mixture of poetry and prose, New Zealand slang and Māori phrases, realistic and supernatural elements, and tonal shifts from ordinary and banal to lyrical and sacred.<ref name="Oxford Bone"/> Judith Dale, in a review for [[Landfall (journal)|''Landfall'']], describes Hulme's writing as "highly idiosyncratic, often florid, with a wide lexical range"; the book "abounds with literary allusions, arcane references and a self-conscious use of language that depends on wide and esoteric reading".{{sfn|Dale|1985|p=416}} [[Merata Mita]] describes the writing as "reminiscent of musical patterns in jazz".<ref name="Mita"/>
==Publication history==
As a teenager in the mid-1960s, Hulme began writing short stories about a mute child called Simon Peter. She continued to write about this character and develop the material which would eventually form a novel into adulthood, while working a series of short seasonal jobs such as tobacco-picking and later working as a journalist and television producer.<ref name="Welham"/><ref name="Oxford Hulme">{{cite encyclopedia |last1=Worthington |first1=Kim |editor1-last=Robinson |editor1-first=Roger |editor2-last=Wattie |editor2-first=Nelson |encyclopedia=The Oxford Companion to New Zealand Literature |title=Hulme, Keri |url=https://www.oxfordreference.com/view/10.1093/acref/9780195583489.001.0001/acref-9780195583489-e-567 |access-date=10 July 2022 |date=2006|publisher=[[Oxford University Press]] |isbn=978-0-1917-3519-6 |oclc=865265749 |doi=10.1093/acref/9780195583489.001.0001
When Hulme began submitting her draft novel to publishers, she was told to trim it down and rewrite it; she reworked the manuscript seven times, with some assistance from her mother on editing the early chapters.<ref name="Oxford Hulme"/> In 1973 she moved to [[Ōkārito]], on the West Coast of the South Island, where the book was completed.<ref name="Welham"/> At least four publishers rejected the novel; at least two did not refuse it outright but required it to be edited significantly. Hulme refused, however, to allow them to "go through [her] work with shears".<ref name="Oxford Hulme"/> In rejecting the manuscript, [[William Collins, Sons]] wrote: "Undoubtedly Miss Hulme can write but unfortunately we don't understand what she is writing about."<ref>{{cite book | last1=Weir | first1=Jim | author-link1=Jim Weir (diplomat) | title=Strong language: very quotable New Zealand quotes | date=2007 | publisher=[[New Holland Publishers]] | location=Auckland | isbn=978-1-86966-182-3 | page=58}}</ref>
Hulme had almost given up on publication when she met Marian Evans, a founder of the [[Wellington Women's Gallery|Women's Gallery]] and a member of the women's publishing collective [[Spiral (publisher)|Spiral]].
The first edition, a print-run of 2,000 copies published in February 1984, sold out in weeks.<ref name="Jordison"/>{{sfn|Dann|1985|p=123}}{{sfn|Dale|1985|p=413}} After the second edition sold out similarly quickly, Spiral collaborated with English publishing house [[Hodder & Stoughton]] to co-publish the third edition.<ref name="Hunt"
==Reception==
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On the other hand, some reviewers have criticised the book's style and Hulme's writing. Agnes-Mary Brooke, writing for ''[[The Press]]'', called it "grandiose, inflated nonsense".<ref name="Welham"/> [[Fleur Adcock]] said it was "hard to be sure whether this remarkable novel is a masterpiece or just a glorious mess"; in response, Judith Dale asked whether the novel's unsettled structure formed part of the appeal: "Mystery or muddle, mess or masterpiece, is it precisely the unresolved, unsettling, unsettled and dissolving strands of ''the bone people'' which make up its attraction for other readers as for me?"{{sfn|Dale|1985|p=413}} More recently, Sam Jordison, reviewing the book in 2009 for ''[[The Guardian]]'', described Hulme's writing as a "morass of bad, barely comprehensible prose", and felt that by the end of the novel "the-all-too realistic story of abuse and trauma breaks down into absurd mysticism".<ref>{{cite news |last1=Jordison |first1=Sam |title=Booker club: The Bone People by Keri Hulme |url=https://www.theguardian.com/books/booksblog/2009/nov/19/booker-club-bone-people |access-date=17 October 2022 |work=The Guardian |date=20 November 2009}}</ref>
New Zealand academic and writer C. K. Stead suggested in a 1985 article that Hulme should not be identified as a Māori writer, on the basis that she was only one-eighth Māori. He praised the novel however for its "imaginative strength" and said it was at its core "a work of great simplicity and power"
Stead and other critics have called attention to the way that the novel describes Simon being violently abused, yet also treats the perpetrator, Joe, as a sympathetic character.{{sfn|Armstrong|
The novel received praise from overseas publications. ''[[The Washington Post]]'' called it a novel of "sweeping power" and an "original, overwhelming, near-great work of literature, which does not merely shed light on a small but complex and sometimes misunderstood country, but also, more generally, enlarges our sense of life's possible dimensions".<ref name="WaPo"/> Peter Kemp in ''[[The Sunday Times]]'' concluded that "for all its often harrowing subject-matter, this first novel from a New Zealand writer radiates vitality ... New Zealand's people, its heritage and landscapes are conjured up with uncanny poetry and perceptiveness".<ref>{{cite news |last1=Kemp |first1=Peter |title=Boy on the beach; Review of 'The Bone People' by Keri Hulme |url=https://link.gale.com/apps/doc/A118012563/AONE?u=wikipedia&sid=ebsco&xid=ecb7bd03 |access-date=20 July 2022 |work=The Sunday Times |date=27 October 1985}}</ref> [[Claudia Tate]] for ''[[The New York Times]]'' called the novel "provocative", and said it "summons power with words, as in a conjurer's spell".<ref>{{cite news |last1=Tate |first1=Claudia |title=Triple-Forced Trinity |url=https://www.nytimes.com/1985/11/17/books/triple-forged-trinity.html |access-date=11 July 2022 |work=The New York Times |date=17 November 1985}}</ref>
==Awards==
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The novel's popularity has endured into the 21st century; in 2004, it remained in the New Zealand fiction bestseller list.<ref name="Welham"/> In 2005, a public conference was held at the Stout Research Centre at [[Victoria University of Wellington]] to mark 20 years since the Booker Prize win.<ref name="Quirke"/> In 2006, the novel was voted New Zealand's favourite book in a public poll as part of the inaugural [[NZ Book Month]].<ref>{{cite news |last1=Herrick |first1=Linda |title=The Bone People still NZ's favourite book |url=https://www.nzherald.co.nz/lifestyle/ithe-bone-peoplei-still-nzs-favourite-book/7JFTGSJPDZJPLJUGXAWCHTJBAI/ |access-date=11 July 2022 |work=[[The New Zealand Herald]] |date=13 October 2006}}</ref> In 2018, it came third in two separate polls by ''[[The Spinoff]]'' of the favourite New Zealand books of readers and literary experts respectively.<ref>{{cite news |title=The 50 best New Zealand books of the past 50 years: The official listicle |url=https://thespinoff.co.nz/books/14-05-2018/the-best-50-new-zealand-books-of-the-past-50-years-the-official-listicle |access-date=15 July 2022 |work=The Spinoff |date=14 May 2018}}</ref><ref>{{cite news |title=Winner of our great book prize announced as Elizabeth Knox is proved most popular author of all times |url=https://thespinoff.co.nz/books/24-04-2018/winner-of-our-great-book-prize-announced-as-elizabeth-knox-is-proved-most-popular-author-of-all-time |access-date=15 July 2022 |work=The Spinoff |date=24 April 2018}}</ref> It is the favourite novel of New Zealand prime minister [[Jacinda Ardern]].<ref>{{cite news |last1=Gates |first1=Charlie |title=Warcraft, murderous politicians and Bowie – the cultural tastes of NZ's leaders |url=https://www.stuff.co.nz/national/politics/122877168/warcraft-murderous-politicians-and-bowie--the-cultural-tastes-of-nzs-leaders |access-date=11 July 2022 |work=[[Stuff (website)|Stuff]] |date=26 September 2020}}</ref> In 2022, it was included on the "[[Big Jubilee Read]]" list of 70 books by [[Commonwealth of Nations|Commonwealth]] authors, selected to celebrate the [[Platinum Jubilee of Elizabeth II]].<ref>{{cite web|url=https://www.bbc.co.uk/programmes/articles/2Ynpj933DJ2YG5nsMS6fn8k/a-literary-celebration-of-queen-elizabeth-iis-record-breaking-reign|title=The Big Jubilee Read: A literary celebration of Queen Elizabeth II's record-breaking reign|website=BBC|date=17 April 2022|access-date=18 June 2022}}</ref>
Hulme died in December 2021. Her ''New York Times'' obituary reported that the book had at that time sold over 1.2 million copies.<ref name="NYT Obit">{{cite news |last1=Frost |first1=Natasha |title=Keri Hulme, 74, a Novelist Who Won the Booker Prize. |url=https://link.gale.com/apps/doc/A688490995/AONE?u=wikipedia&sid=ebsco&xid=3502e503 |access-date=20 July 2022 |work=The New York Times |date=3 January 2022}}</ref> In July 2022, her family announced that the original novel manuscript would be sold at auction, with the proceeds to be used to support Māori authors, in accordance with Hulme's final wishes. The estimated sale price was {{NZD}}35,000 to $50,000;<ref name="RNZ 0722">{{cite news |title=Bone People sale proceeds to help Māori writers |url=https://www.odt.co.nz/star-news/star-christchurch/bone-people-sale-proceeds-help-m%C4%81ori-writers |access-date=17 July 2022 |work=Otago Daily Times |date=15 July 2022}}</ref> it sold for $55,000.<ref>{{cite news |last1=Sunderland |first1=Kerry |title=Celebration of wāhine Māori past, present and future |url=https://www.stuff.co.nz/pou-tiaki/300717793/celebration-of-whine-mori-past-present-and-future |access-date=3 November 2022 |work=Stuff |date=21 October 2022}}</ref>
==References==
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==Bibliography==
*{{cite journal |last1=Abdelghany |first1=Rehab Hosny |title=The (Handi)Craft of Fiction: Raranga and Whatu in "the bone people" |journal=Journal of New Zealand Literature (JNZL) |date=2013 |
*{{cite journal |last1=Armstrong |first1=Philip |title=Good-Eating: Ethics and Biculturalism in Reading ''the bone people'' |journal=ARIEL |date=2001 |volume=32 |issue=2 |url=https://journalhosting.ucalgary.ca/index.php/ariel/article/view/34457 |access-date=16 October 2022 |pages=37–96}}
*{{cite journal |last1=Dale |first1=Judith |title=''the bone people'': (Not) Having It Both Ways |journal=Landfall |date=1985 |volume=39 |issue=4 |pages=413–427 |url=http://www.landfallarchive.org/omeka/items/show/26954 |access-date=3 July 2021}}
*{{cite book |last1=Dann |first1=Christine |title=Up From Under: Women and Liberation in New Zealand 1970–1985 |date=1985 |publisher=Bridget Williams Books Limited |isbn=978-1-9273-2727-2 |chapter=Chapter 8: Creativity}}
*{{cite journal |last1=Fee |first1=Margery |title=Why C.K. Stead didn't like Keri Hulme's the bone people: Who can write as Other? |journal=Australian and New Zealand Studies in Canada |date=1989 |doi=10.14288/1.0074535 |url=https://open.library.ubc.ca/soa/cIRcle/collections/facultyresearchandpublications/52383/items/1.0074535 |access-date=17 October 2022 |
*{{cite journal |last1=Fox |first1=Stephen D. |title=Keri Hulme's The Bone People: The problem of beneficial child abuse |journal=Journal of Evolutionary Psychology |url=https://link.gale.com/apps/doc/A98881932/AONE?u=wikipedia&sid=ebsco&xid=d438ddd4 |access-date=16 October 2022 |date=2003 |volume=24 |pages=40–55 |language=English}}
*{{cite book |last1=Hulme |first1=Keri |title=the bone people |date=1984 |publisher=Picador |location=London |isbn=978-0-330-48541-8 |edition=2001}}
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==Further reading==
*{{cite journal |last1=Benediktsson |first1=Thomas E. |title=The Reawakening of the Gods: Realism and the Supernatural in Silko and Hulme |journal=Critique: Studies in Contemporary Fiction |date=1992 |volume=33 |issue=2 |pages=121–131 |doi=10.1080/00111619.1992.9935227 |url=https://www.tandfonline.com/doi/abs/10.1080/00111619.1992.9935227 |issn=0011-1619}}
*{{cite journal |last1=Dever |first1=Maryanne |author-link=Maryanne Dever |title=Violence as lingua franca: Keri Hulme's the bone people |journal=World Literature Written in English |date=1989 |volume=29 |issue=2 |pages=23–25 |doi=10.1080/17449858908589097 |url=https://www.tandfonline.com/doi/abs/10.1080/17449858908589097?journalCode=rjpw19 |access-date=17 October 2022}}
*{{cite book |last1=Harding |first1=Bruce |title=Keri Hulme's The bone people and the problematic birth of a bi-national New Zealand polity |date=2006 |publisher=Treaty of Waitangi Research Unit, Stout Research Centre for New Zealand Studies, Victoria University of Wellington |location=Wellington, N.Z. |isbn=9780475122933}}
*{{cite journal |last1=Le Cam |first1=Georges-Goulven |title=The Quest for Archetypal Self-Truth in Keri Hulme's The Bone People: Towards a Western Re-Definition of Maori Culture? |journal=Commonwealth Essays and Studies |date=1993 |volume=15 |issue=2 |pages=66–79 |url=https://www.proquest.com/openview/be0b7a5f9f3fe1d31197c1900c2ba82b/1?pq-origsite=gscholar&cbl=1818263 |language=en}}
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*{{cite journal |last1=Rauwerda |first1=Antje M. |title=The White Whipping Boy: Simon in Keri Hulme's ''the bone people'' |journal=Journal of Commonwealth Literature |date=2005 |volume=40 |issue=2 |pages=23–42|doi=10.1177/0021989405054304 |s2cid=161782602 }}
*{{cite book |last1=Stachurski |first1=Christina |title=Reading Pakeha? : fiction and identity in Aotearoa New Zealand |date=2009 |publisher=Rodopi |location=Amsterdam |isbn=9789042026445 |pages=37–96 |chapter=''the bone people''}}
*{{cite journal |last1=Webby |first1=Elizabeth |author-link=Elizabeth Webby |title=Keri Hulme: Spiralling to Success |journal=Meanjin |volume=44 |issue=1|date=March 1985 |pages=15–23 |url=https://search.informit.org/doi/10.3316/informit.344027216144301}}
==External links==
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