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HAN QUEMADO EL MAR

War has once again swept from end to end of the country of The Thousand and One Nights. Tons of bombs have fallen relentlessly on Bassora and Baghdad. Yasin, the lute player who narrated ancient legends at festivities, has died in the ruins of a bunker during an attack by the allies and he will never know his son. Grandma Hafida, Yasin’s mother, explains the tales of a legendary land on which fate and the future have turned their backs to the future shadow of her unborn grandchild.
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1993 Spanish National Award of Children's and YA Literature

 

Rights sold to Mexico

ISBN: 978-84-236-7668-2
Code: 051305
Publication date: 07/12/2005
88 pages
Size: 13.0cm x 20.5cm. Paperback
Cover price: 12.70 
Theme:Children's / Teenage fiction and true stories
Biography
Janer Manila, Gabriel

He was born in Algaida (Mallorca). He studied Teaching and Philosophy and Letters, and in 1978 he obtained a doctorate in Educational Sciences. He is currently a professor of Educational Theory at the University of the Balearic Islands, and has written several works on pedagogy. His literary work is abundant and he has received numerous awards: Ciudad de Palma award 1967; Víctor Català Award 1971; Josep Pla award 1971; Folch i Torres award 1975 for the novel El rey Gaspar, a work declared as a 'book of special interest' by the Ministry of Information; Pompeu Fabra award 1976; Sant Joan Award; Cavall Fort award for children's theater 1983, Critics' award from Serra d'Or magazine for the play El corsario de la isla de los rabbits. His work Esto que ves es el mar won the Generalitat de Catalunya award for the best work published in 1987 and the National award for Children's Literature, awarded by the Ministry of Culture, the following year. He was proposed as a Spanish candidate for the Andersen award in 1990 and 1993. In 1993 he won the First award Edebé of Children's Literature by Remember the Dinosaurs, Ana María. In her own words, she decided to write "one day when a friend - we were students at the time - suggested I write a novel. He told me that he liked the rhythm he gave to my stories, when he told a story, sitting on the terrace of a cafeteria, on a Sunday afternoon. He commented that in my stories there was a secret enigma, a certain mysterious ambiguity.

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