I feel I have to title my review this way because although I'm very glad this event happened, and I have boundless admiration for the people who participated in the raid, including the author, I can't honestly say it was a great book.
To be fair to 'Mark Owen', his ghostwriter, Kevin Maurer, does bear some responsibility for taking a tired, pseudo military thriller approach to the story. The first half of the book is a very mediocre, dramatized 'montage' approach to what it takes to be a Navy Seal and rise up through the ranks to do the type of special operations detailed in the book. As heart-pounding action-thrillers go, it's lacking in the kind of tangible, humanizing elements that elevate good stories of this kind out of the G.I. Joe stereotype.
The second half of the book deals with the raid itself in a very dry, accurate and factual way. It paints a clear picture of the anti-climactic demise of Osama Bin Laden. It probably would have taken a ghost writer with superior skills to Maurer's to forge the rising anticipation, the fear, the frustrations into a more gripping read/listen.
I need to make it clear that I'm not dissing the Navy Seal. I'm just saying a better ghost writer might have done more to bring his story to life.
Many critics have questioned this author's motives for writing the book, and I think the end of the story really exposes them. He's clearly not in it for the money - since most of the profits from this book are going to veteran's charities. I think he's a man who is bitter about the 'spin' the media and the administration gave the killing of Bin Laden, because having been an eye-witness to it, he feels the factual truth was good enough and didn't require embellishment.
But he's also a man, like many in front line positions, who holds tremendous animosity towards anyone with a say in military policy and decision-making who isn't sitting beside him in combat gear, holding a firearm. I think most people who experience war on the front lines feel this way. But it sours the end of the book rather badly. Because the author is clearly not a fan of Obama, and says so often and, at times, in disparaging ways.
This book is a) a first hand account of the raid, b) a portrait of what these admirable and brave people go through to serve their country and c) a concerted effort on the part of the author to deny the present administration any share in the glory of Bin Laden's final demise.
(Note to future administrations: If you say you're going to have a beer with the guys your pinning medals on, you'd better keep your promise. Otherwise they end up bitter and write books like this one.)
And although I thoroughly commiserate with the author's 'walk a mile in my shoes' feelings, I also think it does damage to the nobility of an account of what was a brave, courageous and well-implemented military action. I wouldn't want to walk in Owen's shoes, nor would I want to be responsible for making decisions about the fate of a whole country, its security, its economy and its place as superpower.
I think it may be a central flaw in attempting to write a first person account of this sort of experience too close to the actual event, without the distance of some time and consideration to put the events in proportion. There have been some outstanding first-person accounts of war, but rarely are they written so soon after the event.
The narration by Holter Graham was perfect for the material.
This was such a surprise. I was expecting a run of the mill YA tale of a Persian princess' adventures. This was so much more than that. It's an intimate look at power from an unexpected angle, betrayal from below, and how servitude twists the appetite.
I highly recommend. Be prepared to be surprised. All the way through.
If you require a clear narrative in your detective fiction, you will not like this. The POV of a woman suffering from dementia makes it a very compelling and radically different type of storytelling. But I loved it. I fell in love with the character. My heart went out to her, and Anna Bentinck's narration was superb.
Beyond simply being a very innovative approach to narrative, it really gave me a perspective on people suffering from dementia. I'm never going to cluck my tongue at my mother again.
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.
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