It was a good listen. Not as good as Harry Potter and I wish some of the language were not so crude. But the subject matter was such that type of language would be used.
I didn't really have a favorite. They all made assumptions and acted on them, took things way to personally. Generally they all needed therapy! But it was still a fun listen. She did a great job with her first Adult book and I would listen to the next one!
I would have preferred it to have been in US so the politics and slang would be easier to understand.
J.K. Rowling’s follow-up novel to the Harry Potter series doesn't have a witch, wizard, house elf or centaur in sight. The setting for this book is completely earth-bound. The only garden gnomes you’ll find are of the ceramic variety, sitting on the (mostly) well-manicured lawns in the tiny fictional West Country parish of Pagford. This is where Rowling sets her latest book, which chronicles the pandemonium that ensues when one of its well-placed citizens, Barry Fairbrother, dies suddenly, leaving his parish council seat vacant in the midst of a polarizing boundary dispute that has the townsfolk warring amongst themselves.
The ensuing scramble for Barry’s empty council seat becomes as dirty a campaign as any sprawling metropolis can proffer. Pagford’s citizens have plenty of secrets and dark sides, indiscretions (past and present), family feuds, class warfare, high school bullying and dire domestic circumstances which, thanks to some computer hacking and an ever-present small-town gossip brigade, don’t stay hidden for long.
Rowling’s deft ability to draw complete, multidimensional characters, who are neither wholly good nor wholly evil, is legendary from the Potter books (was there ever a more flawed, occasionally feckless hero than Harry Potter?). She continues that tradition here. Every character is perched on the brink of destruction and/or redemption, and the story moves quickly through the events that seem designed to test them all to capacity. She cleverly uses the mundanity of very small town life to set off real problems that real people have every day, that when you’re seeing them from the inside, seem bigger than one life can hold. The voices of her characters are true and believable, especially among the teenagers. She doesn’t get overly cute with her descriptions of their world (she is most certainly personally acquainted with the experience of raising a teen), and she manages in the end to avoid an ending that’s pat and definitive. The book begins in media res and ends pretty much the same way, presumably because that’s how life begins and ends.
Tom Hollander's narration is seamless and consistent, and his character voices are well acted and easy to listen to.
A satisfying, face-paced novel with humor and intelligence, Rowling has proven she can write outside of Hogwarts, with an eye for an older audience.
this book is very slow and the narrator doesn't do a good job. I only listened to the first third of the book and couldn't get into it. I expected alot more from her. I think she should stick to kids books.
I tried, I really tried. I even restarted it a couple of times, but this book was not funny, it was not entertaining, and it was not intriguing. Sorry Ms. Rowling, I know you can do much better, but this one is a stinker.
The characters here were just not interesting enough to care about
There wasn't a favorite scene, they were all boring
sorry, but no
I wished I waited for the reviews before I purchased. The amount of language is iritating. I listened to the first hour hoping it would improve. Then the reviews started to come in. I don't think it will be worth my time to continue. If this were a physical book, I would return it.
J. K. Rowling is an excellent writer. What's missing here is a driving plot line. It's as if Harry never left the Dursleys. The whole Potter series is his miserable life in the closet under the stairs. Instead of a closet, make it a dank little English town wallowing in child abuse, drug addiction, racism and all-around, mean-spirited thick-headedness. There are a few decent adults, but they tend to be ineffectual. Rowling let Harry off in the end, but don't expect that bounty for "The Casual Vacancy" kid who needed it and earned it here. I kept listening, but I feel as if I need a bath. Good reader.
Does this sound about right? “Rowling’s refusal to conform to happy endings demonstrates the fact that The Casual Vacancy is not meant to be entertainment. She wants to deal with real-life issues, not the fantasy world to which women writers are often confined. Her ambition is to create a portrait of the complexity of ordinary human life: quiet tragedies, petty character failings, small triumphs, and quiet moments of dignity. The complexity of her portrait of provincial society is reflected in the complexity of individual characters. The contradictions in the character of the individual person are evident in the shifting sympathies of the reader. One moment, we pity Stuart, the next we judge him critically.”
Actually, that’s a summary of Eliot’s Middlemarch with a few names and tenses changed (actual quote from SparkNotes). Some online reviewers, especially those who read the free previews, have rated this book low on Amazon and elsewhere and stated that it was boring so they did not continue. These reviews may be translated as “tl;dr” comments. The readers might say the same of Middlemarch.
Many of the early professional reviews also seem to me to miss the mark, perhaps because the reviewer had to read the book in a few hours with a phalanx of Little, Brown lawyers on hand. They seem to have skimmed for easy quotes and have missed much of the context that situates what they’ve plucked from the text. Like some of the the sample-only readers, they have not taken the very obvious cues of the novel’s opening that it will build gradually. Unlike the Harry Potter series, this is not action/adventure, or even mystery.
The Casual Vacancy indeed starts slowly. Because the novel at first presents itself as a comedy of manners, it’s no surprise that Rowling takes some time to introduce the large cast of characters as they first react to Barry's death. While most people are initially socially appropriate (at least in public), the death inspires both noble and self-serving thoughts. Like the people of Pagford, the reader only discovers these aspirations and interpretations as the story and relationships unfold. The vacancy left by Barry turns out to be anything but casual.
We see families interacting with their members and with other families. The genre gradually shifts to become more plot- and action-driven as thoughts become deeds, sometimes not for the better. The reader sees several slow train wrecks in the offing as events inexorably roll on.
This is not a happy book, and it is not uplifting. Most of the characters are unlikable, though as their stories unfold, their complexity in some cases increases the reader’s sympathy and identification. There is a great deal of swearing, shagging, smoking, and drug use (none of which would have been particularly shocking from another author). There are many mean, small-minded acts. Yet none of this is glamorized (most of it falls in the faintly absurd to somewhat gross spectrum), and it is matched by many characters’ sad evaluations of their own relationships, longing to be closer to (or farther from) other people, agony over acne and hair, helplessness, and fear. People wish they had each others’ families. Triangulation, insults, secrets, and violence occur behind closed doors. Rowling realistically depicts pettiness, teenage angst, teen and adult posturing, and the sometimes stifling and intrusive nature of small towns and their politics. It is like being at your social services job day and night. It is depressing. It is also very funny, though this is only occasionally presented in character’s actions and is more frequently evident in surprising adjectives, comparisons, or characters’ thoughts that veer from what is expected. There are, though, events that are deeply, wonderfully absurd, and all the more so for the earnestness and self-absorption with which they are enacted.
Grief is a constant theme--grief for lost people and lost opportunities. Rage, both acute and simmering, appears time and again. The major actions catalyzed by Barry’s death and its initial implications can be characterized as The Long Secret meets anti-Potter. What happens when teenagers take matters into their own hands? Generally speaking, the outcome is not good. Where Harry saves his world, the adolescents of Pagford destroy it. Most of the adults, who strive to assuage their inchoate longings with gossip, sexy boy bands, and reading posts by Barry’s ghost, and who regularly misinterpret motives and are often wounded by each other, are no better or more mature. More complex than Harry Potter, this story ends without tidy wrap-ups, and more like The Rocky Horror Picture Show. The ghost indeed exacts his due, though Jesus-like Barry might be horrified by this misuse of his legacy.
Barry’s saintliness probably would have showed more tarnish had he been alive and present through the book; he serves as a symbol of, among other things, the other characters’ longing for a Jesus-like figure to hold their need for absolution. However, redemptions are few and far between, with the only unequivocal example being the river-dunking of Sukhvinder Jawanda.
A few criticisms:
Like the Harry Potter series, this is structured as a chiasmus. The reader who guesses or observes this may find the events of the end of the book too predictable.
After the second incident, the third time a teen trashed an adult online seemed reductive and mechanical.
While I’m not familiar with UK law, I will imagine that had Parminder Jawanda aided Howard during a medical emergency, she would have been in the clear. Why Kay would violate a client’s confidentiality several times, with no consequences, I cannot say, but it seemed like an easy way for Rowling to share information without straightforward exposition.
Exposition is one of Rowling’s stylistic weaknesses in Harry Potter, and there was still much telling rather than showing here. However, The Casual Vacancy is an improvement. Characters have more interiority, and even though this sometimes has the feel of interior exposition (as when Fats ruminates over an “authenticity” most reminiscent of Sartre’s Nausea, there is somewhat less told about the characters by an impersonal narrator. The shifts of perspective throughout the novel contribute immensely to Rowling’s ability to give us characters in action rather than words about characters and pronouncements about their actions. In this regard, it's better than Harry Potter.
A story worth listening to ,would be first and second loose the dirty words that are not needed but there only to show a reader that J.K.Rowlings knows a lot of dirty words. It is as if she is seeing who wins the dirty word game.
Write an actual story.
Had a plot and storyline to work with.
Every one of them.
"A truly good book teaches me better than to read it. I must soon layout down, and commence living on its hint. what I began by reading, I must finish by acting" -Henry David Thoreau
Absolutely fantastic book! Terrific writing and a true departure. I was hesitant at first to pick up this book because I wanted more Potter books but I am so very glad I gave The Casual Vacancy a chance. It's a slow and steady burn that before you realize you are totally sucked into the lives of the characters.
I hesitate to say more because I do not want to give anything away, but I will say The Casual Vacancy is a thought provoking journey through society and translates weather you live in Pagford, UK Smalltown, USA or wherever you live, it speaks to parts of ourselves we like and hold a mirror up to the parts we wish we didn't see.
The characters were all rich and interesting.
My favorite character is Crystal. She is one of the few really good people in the book.
I think that he did a great job creating all the characters.
The entire ending.