Wow. Just wow. A pure delight from beginning to end: one of the most enjoyable audiobooks I've ever listened to. I'm a Beatles fanatic, and that probably helps; but I'd venture to say that this book has the potential to grab even people who don't know or don't care much about them. Mark Lewisohn writes with great insight and narrative skill about the struggles of the Beatles to gain recognition and professional success at a time when no one else - NO one - was doing the kind of music they were doing, in the way they were doing it. They're poster children for the "10,000 hours" take on career development. They paid their dues.
Lewisohn gives particularly full attention to Pete Best, Brian Epstein, and George Martin. I've read several books on the Beatles and biographies of individual band members, and I still heard surprising new information about these people, and everybody else connected with the band, on practically every "page."
It's not hagiography. John Lennon, as much as I love him, is clearly a world-class jerk, and the others all have less positive aspects. Their terrible treatment of Pete Best and their wild life on the Reeperbahn are presented in unsparing detail. But running through the book is a strong sense of their devotion to music, the clarity of their vision, and their genius: genius being defined as an infinite capacity for taking pains.
Clive Mantle does a terrific job with the narration. He does the "voices" as if it were a work of fiction. I know that's not to everyone's taste, but to me, the key is whether it's done well or not. Mantle nails the Liverpool accent and even captures the unique cadence of each Beatle; and he nails the posh "standard" accents of Epstein and Martin as well.
Lewisohn spent 10 years writing this. I hope that includes the research for the other two volumes. This one stops at the end of 1962, just before "Please Please Me" was released. I don't want to wait another 10 years for the next part. I'm not ready to let these guys go yet.
Grover Gardner is one of the two or three best narrators of Twain, and he does an outstanding job on this (sometimes) difficult material. The difficulty isn't because of Twain's writing, or in this case speaking -- he dictated most of this material, and you can "hear" him sometimes backing up and correcting himself. Twain's writing is one of the wonders of the natural world, and he's the only writer who can make me laugh out loud on the subway.
The difficulty in this case is the background of the project and Twain's design for an autobiography. The audiobook is basically everything in the printed volume except the footnotes. It includes the extensive introduction (how the editors identified the order of the various typescripts), several hours of "false starts" (autobiographical material Twain published elsewhere before settling on this plan), and extensive captions for each section. Gardner's clear and resonant voice keeps everything in perspective, but there's a lot to digest. If you're a Twain fan, you'll be grateful. If you're not, this book wouldn't be your best introduction. It probably helps to have a good grasp of the essentials of Twain's life before going into this one.
It's chronological -- not according to Twain's life, but according to the order of dictation. Twain wanted to combine aspects of diary and autobiography into a single scheme, one that left him the ability to jump from one subject to another as the spirit moved him. And it moved him quite a bit. A given day's dictation could cover six or seven different topics, each with Twain's eye for the illuminating detail and the perfect self-deprecating turn of phrase.
For diehards like me, it's a feast, a cornucopia, an incredible act of generosity on the part of editors, publishers, and reader. But it does require careful listening.
I said this before, for the first volume of this book, and I'll say it again: this is an incredible act of generosity on everyone's part: the editors, the researchers, Twain himself, and especially (in the case of the audiobook) Grover Gardner. Gardner is one of the best Twain readers around - you won't go wrong with any of his performances of a Twain book - and listening to this is like sitting back, legs propped up, and hearing a garrulous old friend talk about his life. All that's missing are the cigar and the glass of brandy. (You'll have to supply those yourself, if you're so inclined.)
This volume has quite a bit to say about God, none of it particularly complimentary. It's no secret that there was no love lost between Mark Twain and God, or at least God as he conceived him to be: Twain's God has a lot of suffering to answer for, suffering that in Twain's opinion could easily have been avoided by a snap of the finger.
The second volume also has quite a bit to say about cats (Sour Mash was one of his favorites) and about his daughter Susy's biography of him, from which he quotes extensively. Other topics that grab Twain's attention, over the course of several months of dictation, are copyright law (he favored copyright "in perpetuity"); how the government used military pensions to buy the votes of the pensioners; phrenology and the mind cure (he had no truck with the former, but seems to believe, or want to believe, in the latter); and his admiration for London cabmen, who had to acquire a knowledge of the city that rivalled Twain's own knowledge of the nooks and crannies of the Mississippi River.
There are villains aplenty. One of the chief villains is Twain's fellow writer Bret Harte, who was (in Twain's opinion) a liar, a sponger, and a cheat: a man who abandoned his wife and children to genteel poverty when he left for Europe, a man whose default mode was sneering. (One night over a game of billiards, he went too far and sneered at Twain's beloved wife Livy. Twain set him straight, unloading a train of vituperation that had been years in the making.) "The sense of shame," Twain says, "was left out of Harte's constitution."
There are also a few heroes. One was Livy; another was Helen Keller, who met with Twain several times and whom he considered a friend; another was Keller's teacher Annie Sullivan. Henry Rogers, a robber baron to some, was a personal hero to Twain: by careful financial management, Rogers was able to help Twain out of bankruptcy and pay back "a hundred cents on the dollar," satisfying Twain's sense of honor - and more to the point, Livy's.
There's at least one complete short story embedded in these reflections: "Was it Heaven? or Hell?" I'd read that story many years ago, but I never realized - nor did Twain realize at the time he wrote it - that a similar scenario would play out in his own life shortly after the story was published. Livy and Jean both became deathly ill, and following the accepted medical practice of the day, neither was told about the other; so the unfortunate Clara was left with the task of making up stories of Jean's exploits to tell her mother, occasionally tripping over inconsistencies. (Jean, of course, was only a few bedrooms away, in a delirium of fever.)
This volume, like the one that preceded it, is a thing of joy and beauty for any lover of Mark Twain's. I hope all the participants remain healthy and able to see this magnificent project through its third and final volume, and that Grover Gardner will be able to narrate it, and that I will be around to hear it.