This presentation is both engaging and entertaining. It is so absorbing that I was genuinely sad that it ended. Like a great romantic place, I must come back!
The translation and narration were simply spectacular. I can't imagine a better experience. Powerful and moving. The essay at the end was also really nicely done and insightful.
This was a great translation and reading of such an amazing story! I am truly sorrow to be done with it. The characters are so spectacularly written you miss them instantly when they are gone.
The story was addictive and due to its length, one can get caught up for hours, before they realize the time. The writer gives the reader details on the history & political forms of the day, that help to clarify the situations the characters find themselves involved. Much more involved than the 'opera' based on part of the book!
George Guidall is one of my favorite narrators of all time, and Julie Rose's translation of Hugo's masterpiece is superb artistry. This makes for a winning combination. My interest was sustained throughout the very long book, and immediately upon finishing it I bought George Guidall's narration of the unabridged version of The Hunchback of Notre Dame. I always appreciate good literature and I stand in absolute awe at the literary genius of Hugo.
I know a lot of people like the translation because it keeps the book from getting too "stuffy", but this is a literary masterpiece. I like formal wording for formal passages.
Having enjoyed the musical, the Movie with Liam Neesan, and the Movie-Musical, it was time to go for the real thing! Wow! Hugo's book has the narrative story I was familiar with, but I think he intended to communicate much more than that. He loves France, and puts a good spin on both it's revolution and it's riots. He loves battle history, and politics, and even sewage systems, apparently --for he wrote about them all at great length, caring not how long it took! In all this, I don't see how I could have stayed engaged except for the translation --From French to English is hard enough, the translator must also communicate the flavor of the prose and the personality of the author. And then, she must update very old colloquial language. And then she must add the colloquialisms that a modern English reader would understand. She does all, brilliantly.
[if you have never seen the movie nor the musical, the following might contain spoilers for you. Like wise, if you have seen the movie or the musical, you might find it takes the fun from the book if you read below about some of the differences in the book. Read at your own risk]. Hugo loves irony, and no character is more ironic than Thenardieau (spelling?). He is consistently self-centered, wicked, and opportunistic. Yet, it is he who saves the life Marius, Marius' father, and Jen Valjen, without intending to do anything but enrich himself, in every case.
The irony of Javer's suicide comes alive in the book --in a way neither the movie nor the musical adequately explained. Javer came to a point where he chose to do the "right thing" but it was "against the law." He could not live with two "right" ways, the way of the law and the way of a higher morality than the law. He could not receive grace, if you will. He lost his identity. He has alway existed believing that the law was the highest light and the only guide for life. Now, he found that he had violated and believed he had done right. He would rather die than seek to live without the law. He "resigned" from the service of God by killing himself. Irony within Irony.
Likewise, the death of Eponine, which, portrayed in the movie, was seen as a selfless matter, was not that in the book. She wanted to die for Marius, yes, but only because she knew he loved another. And, she wanted him to die also, and had even arranged for it, or so she thought. She did die, but he did not. She wanted to get rid of his ability to live with Cossette, but only insured it.
I could go on, but there is so much irony, that you will have to hear it for yourself.
The narrator was up to the challenge of a very, long book. He voiced all parts himself, including women, children, old and young. He did a terrific job, especially with changing Valjen's voice from bold and strong, when he was young, to desperate and feeble, when he was old. He handled prose, poetry, monologue, and dialogue with equal prowess.
Of course, the gem of the book is Valjen, who goes from criminal to Christ figure, and doesn't seem to notice the depth of his own transformation, even at the very end. He is grace personified, putting all others before himself.
Finally, one of the greatest treasures of this unabridged version of the story is the narrative regarding the old priest who first showed grace to Jen Valjen. His story could be a movie of its own.
I tried to read Les Mis three times before but kept getting stuck on "french" words that would make my reading choppy and then I gave up. I used a credit to purchase this unabridged version and was blown away. It did take me a month to finish this book because it is sooo long, but now I can finally say I have finished it.
I've loved the musical and various on-screen adaptations since I was young. I still loved this book, but it was just too long for me. The unabridged version (which this is) has too much in the way of descriptions of the French revolution, wars, and sewer systems for my liking. Others may love that, though! The reading was really quite good, and the story is timeless.