Dark Matter is in the best tradition of the 'creeping dread' British horror genre, in the manner of M.R. James. The first person narrative is nuanced and very compelling. The novel is a well-researched fictional history of an expedition in the 1930s to a haunted Norwegian bay, far above the arctic circle. Beyond the main stories are themes of poverty, class and hero worship which give the story incredible depth.
The narration by Jeremy Northam is flawless.
I am not the biggest fan of John Scalzi. I usually find him a bit of a sort of post-modern Robert Heinlein. But I really enjoyed this novel. Very cool premise, very well explored and a tremendously sympathetic, if perhaps slightly flat, main protagonist. There are enough interesting secondary characters to make it interesting.
I'm not sure how I feel about the 2 hour novella tacked on at the end. It does give the novel context and has a bit of a post-apocalyptic aesthetic about it.
If you enjoy social sci-fi, combined with clever detective fiction, you'll like this.
I can see from some of the reviews that this book is heavy going for a lot of readers. And it is heavy going, no question about it. It's bleak and relentless but there are flashes of gold so pure and true that I felt not only was it worth it, but that without the darkness, the flashes of light would not have shone so brightly.
The language... oh, if you love poetic language and rich, fertile descriptions, this book is so linguistically erotic there were times when I felt almost embarrassed to be listening to it in a public place.
I can't believe it took me so long to get around to reading/listening to this. I'm so glad I did.
First, I have to say that the narration was superb on this audiobook and it made what was a nice little mystery with a poorly structured narrative bearable. Researchers are, understandably, in love with their own process and so they should be. But it's a mistake to believe this automatically translates into a compelling story structure.
There were a number of ways to go about using what is a very interesting set of factual events to construct a novel: you can simply dramatize the facts and weave them into a historical novel (with either the research subject as the narrator or a secondary character as narrator); you can construct the whole piece as a collection of found documents, the way Dracula is constructed, in epistolary form; or you can take the contemporary discovery approach by having the researcher there in the story as a quasi-detective (as was done here). The mistake that researchers who try to turn their research into prose often make is to present themselves as an inert figure. No entity in a story is ever inert and attempting to present them that way is always a mistake in anything but academic writing which is why I agree with an earlier reviewer that this reads slightly like someone's PhD thesis.
Another problem with the story is repetition. This could have used an editor with a firmer hand. Repeating research findings is perfectly acceptable in academic writing, but it's just irritating in what needs to have a more fluid approach. Trust your reader to remember what you wrote three chapters ago. They usually do.
Finally, this this was irritating, the author telegraphs important discovery events by hyping what she's found before she tells you what it is. This really spoils the a-ha moment for a prose-reader. If anything, the opposite approach is more effective. To downplay the advent before a really surprising discovery is revealed.
Sounds like a really unsatisfactory audiobook, but it wasn't. Admittedly, this isn't a book of startling and shocking revelations. It's a gentle, poignant and almost literary unfolding of a man's life. But the core of it is an intriguing story. And, as I said at the beginning, the narration is outstanding, and mitigates a lot of the structural flaws.
This is a very compelling story and I think I'm going to have to listen to it again because there's more to be gotten out of it. Although not set in the future, it reminded me in terms of cross-cultural speculative fiction, of Bachigalupi's Wind Up Girl.
The writing is excellent and the non-linear storyline, which can sometimes be a little hard to cope with in audiobook form, works fluidly and well. The characters are well fleshed out, especially the main character who is flawed and juicy.
There is a lot of very graphic violence in the novel, and it is painstakingly and viscerally described, so if you have a problem with that, you might want to steer clear of it, but I felt it was right for the story, and served it well.
The performance is good, although I found that the male voices, with southern accents, got a tiny bit muddled. But not enough to spoil the experience of the book.
It's not that this was a terrible story, it just wasn't a very good one and certainly not a particularly fresh or well-told one.
I can see that other people loved it, but I felt it dragged, pace-wise. And if I read another horror story where the conflict centers around a couple where the husband keeps flatly denying there is anything supernatural going on, for 5 hours, I'm going to scream.
That particular plot device has worn very thin with me.
You need to have some patience to listen to this novella. The language is exquisite, the sense of place and time and mood are engrossing. If you listen to audiobooks for plot and excitement, this is not the book for you.
But as a novel that explores character, relationships, the extreme subjectivity of human perception and how time acts upon those things, then this may be one of the most eloquent examinations of those things ever written.
Although I did not give Kidman's narration a full five stars, there is nothing wrong with it. However, two things bothered me. Her pace of reading is quite fast, and this is a problem when the point of view changes from one character to another within a scene. I'm assuming there are scene breaks in the original text version which make clear whose point of view is being used, but in audio form, a slightly slower read, with more pauses between scenes would have been helpful. Secondly, I found her Aussie accent slightly jarring for this particular novel. I think it might have suited a more neutral English or American accent better - just because I have a better capacity for overlooking those accents. It's an entirely culturally subjective view, but then narrators affect us at that level.
I enjoyed the story. It's got a very twisty plot with a bit of an homage to one of literature's greatest horror novels (I won't say which, because that will give away the story). The setting is well described, eerie and tension-filled. It's a tale narrated through a number of different character's POVs and documents, which makes the pacing slightly odd, but helps to keep you on the edge of your seat and guessing.
The one part of the story I thought was a big of a let-down was the rather superficial, convenient characterizations. There are some really intriguing characters in the story and I thought they could have been better fleshed out. I got the feeling they were left tenuous in order to allow the plot more flexibility. When I can see that in a story, it bothers me a little.
Nonetheless, as a thriller/murder mystery, it makes for good listening.
This is a very interior novel. It has some lovely literary elements to it and I did enjoy it. The atmosphere is seductive and gripping, and the character is nicely developed.
However, I found the narration hard to cope with. The Scottish brogue is thick and unremitting and, to my ears, somewhat artificial. Reynolds does Irish and Northern English accents very well, but his Scottish burr leaves something to be desired.
I suggest you listen to the audio sample provided to see if it works for you.
I thoroughly enjoyed this retelling and restructuring of Hamlet. I began listening with moderate expectations, knowing the play well and expecting it would just be a fleshing out of the original, but it was so much more than that.
The authors have done a wonderfully creative job of approaching the tale from a fresh, very lateral perspective. Lesser events and characters in the play are brought to the fore, and a wonderful layer of Machiavellian political intrigue suffuses the story. The same is true of the play's original paranormal elements. The authors have developed it into a lush political and psychological thriller.
I didn't give the story five stars only because I found the villain of the piece (I won't tell you who it is because that would be a huge spoiler) a little underdeveloped and cardboardish. That being said, this was more than a retelling of the play. If you like historical mysteries or alternate histories, you'll love this. It's rich and atmospheric and wonderful.
The narration was outstanding.
I do owe Foster a thanks for introducing me to the world of 'preppers', and giving me something to chew over when it comes to why there are so many people looking forward to the apocalypse. However, as a novel, this is poorly constructed.
As with many fetishists, Foster makes the common mistake of believing his readers will share his obsession with preparing for the looming apocalypse. Consequently, he offers no insight for the mainstream reader into the hows or whys of people who have caught the 'prepping' bug. There's no context to the characters. In fact, there is very little effort to examine any of the characters' motivations. The plot flits around, clumsily interrupted with recipes, hints on prepping, and long digressions on different types of ammunition. The whole novel is dripping with a curious sort of schadenfreude towards the non-prepping majority, and there is no sense that the author was even aware of this.
Consequently, I was relieved when it was over.
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