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.
Which is more impressive in this audiobook, the fairy tales of Oscar Wilde or the readings of them by the assembled famous British actors? At their best, Wilde's stories are exquisitely beautiful and painful and reveal deep understanding of the tragedy of the human condition (mortality, inequality, prejudice, selfishness, and hatred), as well as its transcendence through generosity, self-sacrifice, beauty, faith, and love. The readers are perfect, with wise, compassionate, and flexible voices and deep understanding of each word they say and of each scene they depict.
Special highlights are Dame Judi Dench reading "The Nightingale and the Rose" so full of wit and emotion, Jeremy Irons reading "The Devoted Friend" with a surprisingly wide range of voices for different characters, Joanna Lumley reading "The Star Child" and moving me to tears, and Robert Harris reading "The Happy Prince" and moving me to tears, too, especially whenever he says, "Swallow, Swallow, little Swallow." Sir Derek Jacobi reading "The Fisherman and His Soul," Sinead Cusack reading "The Birthday of the Infanta," and Sir Donald Sinden reading "The Selfish Giant" all do fine jobs with fine tales.
The only dud (forgive the pun) is "The Remarkable Rocket," which, despite Geoffrey Palmer's excellent reading and despite the interesting concept (sentient fireworks talking about their upcoming royal display) is finally a mediocre joke that long overstays its welcome. The only disappointment is that the cover art says that there is a bonus track of "The Actress" read by Elaine Stritch, but it's absent from the audiobook.
Anyway, I highly recommend this excellent audiobook.
Audiobooks have literally changed my life. I now actually ENJOY doing mindless chores because they give me plenty of listening time!
Walter Hartright, a young art teacher, is startled when he is overtaken by a young woman dressed entirely in white while walking on the road from Hampstead to London. Visibly distressed, the young woman begs him to show her the way to London, and he offers to accompany her there. The young woman accepts his offer on the condition that he allow her to come and go as she pleases. Once he's dropped her off in London, two men in hot pursuit claim that the girl has escaped a mental asylum and must be returned there at once, but Walter does nothing to help them in their search. The next day he arrives at Limmeridge House, where he has gained a position as a drawing master. There he meets his young pupils, half sisters Marian and Laura. In no time at all, her befriends Marian—no great beauty is she, but quick, smart and amusing—and falls desperately in love with the heavenly loveliness that is Laura. But the encounter with the woman in white will carry many consequences.
I took absolute delight in discovering all the plot twists of this great classic mystery, so will disclose no more of the story nor of how it is told, but will say that it offers a wonderfully evil conspiracy and several highly memorable characters, not least of which the strange and compelling villain Count Fosco, who stole every scene in which he appeared, in my view. Also, the sublimely selfish Frederick Fairlie is one of the most memorable invalids I have ever encountered in a work of fiction. I must say that this version, narrated by Simon Prebble and Josephine Bailey, greatly increased my enjoyment of the tale, with wonderfully rendered characters. Now that I've listened to it and that there are no more secrets for me to discover, I still look forward to listening to it again for a fun romp with highly colourful characters and plenty of Gothic frissons.