This new Blackstone recording of "Canterbury Tales" is wonderful and at times enthralling -- and also at times laugh-out-loud funny. Like the Charlton Griffin recording (also available here), it's the whole ball of wax: every tale, including the often-omitted Tale of Melibee and the Parson's Tale (which is really a three-hour sermon rather than a tale. Listen to it. It's good for the digestion, and quite a bit more interesting than it sounds). This translation, by J.U. Nicholson, uses a more old-fashioned vocabulary in places than the Coghill translation used by Griffin; but at the same time, it's also saltier. There are few crude names for parts or functions of the human body that Chaucer fails to use at one point or another, and most of them find their way into this recording. (For me, that's a GOOD thing!) One notable feature is that this is a multi-voice recording. Martin Jarvis is Chaucer, Ralph Cosham the Lawyer, Simon Vance the Squire; and that's only a few examples. Both this version and Griffin's version are five-star recordings in my book. Griffin's has occasional music, which this one lacks; on the other hand, this one has greater variety of tone and voice.
I've always loved W.H.D. Rouse's prose translations of Homer. They've been available on Audible for years in an older recording by Nadia May. Blackstone has just reissued them in new readings by Anthony Heald, and they're wonderful. Heald is fast becoming one of my favorite readers. His fast-paced, emotionally-charged style is perfectly suited to the breezy rhythms of Rouse's prose. There are other more poetic translations and readings of The Iliad and The Odyssey, but to my mind these are by far the best prose versions -- especially appropriate if your goal is to be immersed in the story rather than the language.
There are some things about Rouse's style you should be aware of, though. Mostly these are reflections of Homer's style, but some translators smooth it over; Rouse does not. Zeus is sometimes referred to Cronides, Cronion, or just plain God. Other characters are referred to sometimes by their names, sometimes by their patronymics (Agamemnon is Atreides, the son of Atreus; Achilles is Peleides, the son of Peleus). Sometimes, as in Cronides/Cronion, those patronymics have more than one form. In addition, Rouse often uses the word "good" to indicate an in-law relationship: a "good-sister" is actually a sister-in-law; a "good-father" is a father-in-law. To me this is part of the charm of the translation, but if you're not prepared for it, it can be confusing.
This is yet another excellent reading of "Frankenstein." There are actually several really good performances of this book on Audible. Simon Vance tends to emphasize the lyrical Romanticism of the prose. Others have other strengths: George Guidall emphasizes the brooding tragedy; the three-reader version from Blackstone highlights the unusual structure of the narrative; and Flo Gibson gives what I think is the only available recording of the shorter 1818 version of the text. (Most use the 1831 revision.) I seem to be collecting versions of this book without realizing it. Vance's reading is lively and clearly differentiates the three major voices in the book (Walton, Frankenstein, and the Creature).
Audiobooks have literally changed my life. I now actually ENJOY doing mindless chores because they give me plenty of listening time!
Newland Archer, one of Old New York society's crowned princes (so to speak) is overjoyed about his recent engagement to the perfect May Welland. She too has a perfect pedigree, is a pretty young rose just starting to come into bloom, is innocent and beyond reproach in every way, well trained to be the ideal dutiful wife. But when he gets better acquainted with May's spirited and independent-minded cousin Ellen Olenska, just recently returned from Europe and scandalizing all of New York with her revealing dresses and foreign way of expressing herself and behaving, Newland is at first shocked and then completely taken over with passionate love. So much so that he is in fact determined to drop May and marry the countess Olenska instead. What he forgets to take into account is that his desire to embrace a life of freedom and equality will not be tolerated by his peers. A wonderful look at New York's upper crust in the 1870s, whose lives revolve around being seen at the opera and inviting the right people to dinner parties. Wharton exposes a world she knew firsthand from the distance of the 1920s, and what she shows us is just how regulated life was among the elite in a New York which was cosmopolitan, but prided itself on it's rigid and old fashioned conventions. Because this is Wharton, we know this love story is not likely to end with a Happily Ever After, but along the way she touches on interesting themes and presents us with a fascinating cast of characters who may not be likeable, but don't lack for entertainment value. A story I will definitely revisit in future. This audiobook version was narrated to perfection by David Horovitch and is definitely recommended.