I love reading and listening to books, especially fantasy, science fiction, children's, historical, and classics.
On the surface not much happens in Virginia Woolf's semi-autobiographical modernist masterpiece To the Lighthouse (1929). In Part I: The Window, Mr. and Mrs. Ramsay (based on Woolf's own parents), their eight children, and several guests are vacationing at the Ramsays' summer house on the Isle of Skye in the early 20th century. Mrs. Ramsay, a meddling and kind fifty-year-old Greek-goddess, goes to town on errands, reads a fairy tale to her youngest child James, knits a stocking, presides over a dinner, communes without words with her husband, and holds the different people in the house together with the gravity of her charisma. Mr. Ramsay, an eccentric philosopher-academic, carries on with egotism, insecurity, and emotional tyranny. James' desire to visit the local lighthouse is thwarted by his father and the weather. Mr. Charles Tansley, an uptight disciple of Mr. Ramsay, asserts himself charmlessly. The somnolent and cat-eyed poet Mr. Carmichael reclines on the lawn. And independent, Chinese-eyed and pucker-faced Lily Briscoe works on a painting of Mrs. Ramsay and James and critically contemplates the family. In Part II: Time Passes, the forces of entropy besiege the house as it stands empty of people for ten years. And in Part III: The Lighthouse, Mr. Ramsay coerces his two youngest children--now moody teenagers—to accompany him to the lighthouse while Lily Briscoe--who partly represents Woolf herself as a writer--comes to terms with her feelings for Mrs. Ramsay as she tries to capture her vision in the painting she'd attempted ten years earlier.
Woolf is so good at sympathetically and honestly exposing people's minds and so good at revealing the beautiful and awful world we live in, and her writing is so beautiful, flowing, controlled, and poetic, that spending only a couple days with her characters is an indelibly rich experience. She employs a modernist stream of consciousness narration, and fluidly moves from one character to another. Her technique in the novel has been likened to that of the lighthouse beam moving across the benighted island world, briefly illuminating one mind and then another as it goes round, but Woolf's narration feels more organic than that. I relish her long, elegant sentences comprised of multiple clauses attached by semi-colons, her original and vivid metaphors, and her insights into human nature in a variety of vessels (male, female, old, young, educated, simple, etc.). I expected To the Lighthouse to be beautiful, philosophical, and sad, and it was, but I was surprised by its constant humor. At least as often as a poignant pang, I felt a flush of pleasure, similar to what Cam feels while sailing towards the lighthouse:
"From her hand, ice cold, held deep in the sea, there spurted up a fountain of joy at the change, at the escape, at the adventure (that she should be alive, that she should be there). And the drops falling from this sudden and unthinking fountain of joy fell here and there on the dark, the slumbrous shapes in her mind; shapes of a world not realised but turning in their darkness, catching here and there, a spark of light; Greece, Rome, Constantinople."
The dense novel explores the miraculous fragility and meaning (or lack thereof) of life; the varied and complex nature of love; the losses and gains involved in making families or living alone; the fraught relationships between children and parents; the confining roles of men and women; the surprising vividness and poignancy of memory; the complex nature of perception; the doomed but necessary attempt to understand other people; and the doomed but noble attempt through art to capture truth and to avoid entropy.
Juliet Stevenson was born to read Virginia Woolf! Her voice is lovely to listen to and full of understanding, irony, and sympathy, a perfect accompaniment to the text. With skillful subtlety, she modifies her voice for the thoughts of men and women and children and adults (and for the local Scottish workers who help the Ramsays). She carried me off To the Lighthouse. The only thing, perhaps, that is lost in the audiobook is Woolf's use of parentheses and brackets and semi-colons, which visually shape the reading of the text.
To the Lighthouse, like Mrs. Dalloway and Orlando, should be read by anyone interested in gender, art, love, life, modernism, beautiful prose, and early 20th century British culture.
Listening to Charlton Griffin's reading of Richmond Lattimore's translation of The Iliad was a wonderful experience.
Griffin is good at modifying the pitch and tone of his voice to evoke the different genders and ages and moods and agendas of the various characters. He brings the epic to life. He even makes fascinating the 90-minute introduction by scholar Herbert J. Muller. And the sound effects (ravens cawing over a battlefield) and Greek mood music introducing and concluding the 24 books of the epic immersed me in its world.
As for Homer's story, an epic focused on a short slice of a long war, a tragedy with plenty of humor, it is rewardingly rich, depicting the appalling heroism and horror of war, the full range of human nature (from bravery to cowardice, brutality to mercy, destruction to creation, and hatred to love), the richness of ancient Greek culture, the pettiness and power of the gods, and the mortality and wonder of life. Among the most impressive moments are Hector's meeting with his wife and baby before going out to fight, Hephaestus' crafting of a shield with the heavens and earth and all of human endeavor animated upon it, and Achilles' inability to embrace the ghost of Patroclus in a dream. I hope the following quotation will give an idea of the excellence of Lattimore's translation and the depth of Homer's vision:
As is the generation of leaves, so is that of humanity,
The wind scatters the leaves on the ground, but the live timber
burgeons with leaves again in the season of spring returning.
So one generation of men will grow while another dies.
In conclusion, I thoroughly savored this audio version of The Iliad, often smiling with appreciation for Homer's story, Lattimore's translation, and Griffin's reading. I highly recommend it.
I eagerly purchased this audiobook of T. H. White???s complete The Once and Future King, because for a long time Audible only had the individual books available. And I loved the first four books, which begin with the halcyon fantasy of The Sword in the Stone, in which the boy Arthur (???Wart???) is educated by an anachronistic Merlyn. The scenes describing the daily life of a medieval castle during different seasons are vivid and beautiful, while those recounting Wart???s fantastic adventures and transformations into various animals are imaginative, suspenseful, and humorous. White loved and respected flora and fauna (even snakes), and this first book is encyclopedic and fantastic, dense and rich, absorbing and moving.
From the second book, The Queen of Air and Darkness, which opens in the cold north as Queen Morgause boils a black cat alive while her four sons are telling the story of their grandmother???s rape by Arthur???s father, begins the increasingly dark movement of the novel, centered on the tragedy caused by Arthur???s family history and the romantic triangle between himself, Guenevere, and Lancelot (The Ill-Made Knight). In the 2nd through 4th books White most closely follows Malory, though he also moves the era forward from the 11th to the 15th century and empathically imagines how medieval men and women felt and thought with modern psychological insight. At the same time, he writes plenty of joie de vivre, questing and combating knights, and fascinating details about medieval life (food, fashion, feudalism, etc.).
The novel really concludes with the 4th book (The Candle in the Wind) as the last battle between Arthur and Mordred is about to begin, but this audiobook then adds The Book of Merlyn, which may be good for completists, but which I found disappointing, as on the eve of the last battle Merlyn takes his former pupil off for a night of anachronistic political and philosophical debate with Badger and company about why humans wage war and what might be done to prevent it. Apart from Arthur changing into an ant and a goose to experience two different social systems, there is little ???story??? in this last book: too little Arthurian Matter and too much Whiteian Musing.
Jason Neville does a marvelous job reading the long work, effortlessly giving different characters distinctive voices and personalities without over doing it (so that, for example, his female characters sound like human beings rather than like a man imitating ???women???). And his King Pellinore reminds me of John Gielgud.
I recommend this audiobook for anyone interested in the Matter of Britain or philosophical and well-written fantasy.
I thoroughly dislike Lady Susan (the woman, not the book) from start to finish. Yet, every time I finish the book, I have to step back and give grudging admiration for this unprincipled, schemer. She got everything she wanted. Lady Susan got the much younger man she craved and got her daughter married into a family who at one time would have scorned to be associated with Lady Susan.
The more I think about the matter, the more I become convinced that the daughter and Lady Susan were executing a clever plot to accomplish their ends. The tears and lamentations of the daughter and the fury of Lady Susan were just part of the scheme, all sound and fury, signifying nothing.
This is a book one loves to hate.