Lancaster, PA, United States | Member Since 2010
Hmmm.... maybe this is an historical novel? Maybe it is a true crime? Maybe it wants, at the end, to apologize for playing it straight down the middle for a lot of the first three quarters of the book. It started out well enuf... got reeeeeeely slow around the middle and that ending... what was that thing? Couldn't possibly finish that mire. I'll not buy another Howard Blum and the book's attraction to award judges is totally puzzling.
Every male (I can't use the word "man") in NTFG is built around a spine that's wispier than stuff Victoria's Secret uses to make panties. Think of the word "manly" then think of its most extreme opposite. There, you've described every male character in this book.
Actually the mystery here is interesting, and adequately worked out. But these panty-waist guys are so weak… no "weak" is to these creatures is like using the word "dull" to describe Uncle Dan's family slide show. Barclay's women are shrews, his males pansies and this story what happens when the word man is surgically separated from the word testosterone.
As for Christopher Lane… I guess this was work. We all need to make a buck, and this chore was probably better than digging ditches in winter during a storm.
I really like Amanda Jaffe, Phillip Margolin's star character here in Wild Justice. And yeah, Margolin is like a great carpenter, but in this case, not a designer of fine furniture. There's a difference, right? While he puts the story together with competent precision… Well if this story were a cabinet, it'd sure have a lot of gaps, holes, bulges, clashing colors, and improbable joints.
Still, I listened to the end because Anna Fields is a terrific actress (can't wait to hear her tell me more stories) and Margolin is a master carpenter and its entertaining to watch him saw, bang, paint, and join stuff. I'll get more of his books, but like a quarter mile secret tunnel snaking out beneath a suburban home… This one's too improbable to believe.
If I had it to do over again… Nope, I wouldn't.
This is just plain, old fashioned…. THRILLING!!!! Okay, Paul Hecht doesn't even try to do female voices. FUGEDABOUDIT! This thing is perfectly designed to entertain till almost the last tick of the clock…. LITERALLY! Totally liked it. Recommend it. A blast from beginning to end.
There are times on history's vector when its slope doesn't just get steeper but when the damned thing gets discontinuous… it doesn't slope upward as much as it takes a big step. Here Stephen Greenblatt meticulously reveals one of those leaps… or as he calls it… The Swerve. Don't worry, your eyes won't glaze in spite of that word "meticulous" up there. This is scholarly yet popular history writing wedded. And Edoardo Ballerini leads us through with patience yet with all of the appropriate drama. Nowhere does he make this seem a lecture… rather more like a good thriller. I liked it… And have bought the physical book as presents for a number of friends thanks to this listen.
Spy versus spy. A LeCarre mood of multi-crossing darkness. A tale of momentum as the moral alternative. Pace comes fast, morality a lot slower. Intellectually, that's a good thing in this middle eastern drama. Emotionally though… that's where the questions burble up. Silva is masterful and George Guidal is, as usual… the perfect ensemble creator with a voice that wraps around dialects he thrives in international thrillers… just like this.
Oh so much belief to suspend here. At times the plot has more holes than a lace shawl. BUT it's still a lace braided with precious thread. I'm guessing this is an early Coban. But the ending's plausible if you buy Coban's set up and Coban's strength is in set up.
Frankly, if you/ve not read this author before… don't start with this. If you have read him, don't expect as much. Ed Sala does a journeyman job.
Okay, the ending's WAAAAAAY over the top. But John Verdon's created a killer villain and a complexly credible hero. And all of the threads are neatly plaited together in the end. Dave Gurney's all flawed up. And his home life's a rich stew that's on the verge of going as bad as his cases.
In fact, the tension between the Gurney's is as gripping as main plot. I wish Madeline Gurney stayed true to her character as chaos explodes. Still, this is a classic series that you should start with "Think Of A Number", the first in the series. Why have the flashbacks here ruin the plots of the three earlier Gurney novels?
Once again, Robert Fass makes this cast his own. It'd be difficult for me to imagine Gurney through another voice.
I can imagine a dad reading this to his child, and enjoying it at least as much as the listener. Of course there are the required dense paragraphs of double-talking scientific gobbledygook that modern sic-fi authors need to numb the reader into suspending disbelief. And of course I don't pay attention to any of it. Why not just employ a shortcut like warp-drive oe whatever to move us into the plot? Hey, I paid for this thing to be amused, entertained, maybe even awed. Not distracted by a magician's trick.
Ah well, everyone's doing it today. In fact I even gave up Neal Stephenson who eventually gave up writing plot for just so much "look at how smart I am" blather. But Meyer gets over that stuff and tells a fun Harry-Potter kind of story.
I liked it. Definitely because of the great job that Luke Daniels did in reading to me.
The twin entwining plots of this tale are as classic as the names Asimov, Clarke, and Bradbury. But look, plots are to writers as brushes are to painters. I don't know a composer who fails to diddle with key, or photographers who avoid negative space because others have used it. Nope… they're all tools.
And so in "Factoring" Sawyer churns at least two mature hunks of red meat through his grinder, mixes them with clever spices, then cooks and presents the dish deliciously. If there's a problem it's that he's got a tendency here to get pretentious and a tad corny. But hey… corn sells with me, especially when it's popped, hot, buttered and salty.
Katherine Kellgren's very good and perhaps, given the echoes from romance literature, we'll the book fits better into the mind and mouth of an excellent woman. Kellgren's made it her own.
Maybe I'm still reeling from Michael Kramer's disappointing reading of Perry's mediocre "Dead Aim", but I'm a little more critical of him than in the past. Especially since I listened to Shelly Frasier exciting read of Perry's 'Nightlife' since I heard the disappointing 'Dead Aim'. Okay, I'll recover, and really, this Kramer reading keeps him within the top ten talents I've enjoyed at Audio Books.
'Silence' is serious, but very serious. fun. No, it's not comedic tromp by any imagination. It's about killers, blood, baseball bat beatings, and all of the other good stuff we live for in current mysteries (!) And Perry's characters are each solid links in this story's chain.
You are lucky if you've not heard a Thomas Perry novel… Why? Because so far, except for 'Strip' and 'Dead Aim' I've heavily enjoyed the other ten novels of his I've listened to so far and look forward to more. Perry is one of the best mystery writers today and in spite of the "secrets" that the distressed damsel holds back, almost implausibly, until the novel's end (hence my 4 rather than 5 stars for the story…
This tale of killers versus a riddled-with-ethical-angst, big shouldered P.I. is old school fine. Overall it is more than the sum of its parts.
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