I have very mixed feelings about this book. It is an intense and sometimes very uncomfortable 15+ hour journey. Mr. Ellory has a remarkable gift for story-telling and Mark Bramhall is, without question, the best possible person to tell his story.
If you are feeling emotionally fragile, you would surely be better off to avoid this book, at least until you are feeling stronger. The protagonist encounters one gut-wrenching catastrophe after another, and finally utters the reader's inevitable question, “Why has all of this happened to me?”
As a previous reviewer suggested, the book is repetitious. It could certainly benefit from a good editor, although Ellory may be (somewhat less than artfully) using a fugue, a powerful literary device that allows the author to continually reassert the important themes of the book. It is also undisciplined and unnecessarily verbose.
Having said that, Mr. Ellory does a genuinely outstanding job of capturing the rural culture of the southern US, all the more amazing since he is an Englishman. I am glad that I listened to this book, primarily to make the acquaintance of Mark Bramhall, who is one of the very best narrators I have ever heard. I don't, however, agree with Michael Connelly and James Patterson that this is a “beautiful” book. I always question the motivations of authors who review other authors' works, so I tend to discount them, anyway. There are moments of beauty, to be sure, but much of this book is unrelentingly grim, relieved only by the soothing rhythms of Mark Bramhall's voice.
If you have the patience and fortitude to endure a long and heartbreaking journey with a tiny light at the end of the tunnel, by all means, embark. But you are forewarned: the final reward is somewhat meager.
Some of his words are pure gold. The disadvantage of listening to a book is that you cannot highlight or bookmark a special few words. Burke's point of view becomes solid in this book and what he wants to say about life, through Dave Robicheaux's errors in judgment and liaisons with the spirit world, becomes apparent, at least for now.
This is not a plot-driven book; it is character-driven. Cletus makes a welcome return (I always picture him as Gary Busey). The plot is fairly mundane, and portrays Dave getting involved with some dangerous people as a consequence of helping an old friend. Most of the action takes place in Montana, and JLB establishes the ambiance in a manner that is similar to his lyrical descriptions of Louisiana, yet not as successful. The outcome is really never in doubt; it is the manner in which it will be reached that is the question, and the mythic/magical elements (of which I am very fond) do play a role here.
I have already read ALL of the Dave Robicheaux books, but not in order, so I am starting over, and enjoying them as audiobooks, except for Heaven's Prisoners, which is not available as an unabridged audio book. I have to say that I am not as fond of Mark Hammer's narration as I am of Will Patton's. In fact, I almost gave up on this book in the first few chapters, but I eventually got used to his voice. He does an abysmal job with Alafair and Batiste, and when Dave is having a conversation with Cleet, it is difficult to tell them apart. He gives everyone a Southern/Texas accent for some strange reason. I have to stop thinking of this as a performance and just imagine that Mark Hammer is reading to me, and doing the best he can. Unfortunately, it's just not very good.
...improbable coincidences that serve to tie together loose ends of a story are something else again. I am fond of this series and especially like the moral ambiguities that Jack Caffery and now Flea Marley are faced with. They are believable characters. The series of contrivances that brought this story (which began in the last book, Ritual) to a close are not believable, however.
Having said that, I could not stop listening during the last few hours of the book and actually spent the day baking so I would have an excuse to listen! I simply wanted to know how it would end - something that is all too predictable in many of the books I read.
I woiuld also add that the narration is flawless and adds greatly to the enjoyment. Although I was not much impressed with this book, I'll surely carry on to the next.
I am completely smitten with this series, and eagerly await each new chapter. This book exceeded my expectations, which were pretty high. I was pleased to learn more about Constance Green, and more of the Pendergast family history.
A corpse on the doorstep of his home on Riverside Drive leads Pendergast to a variety of locales, exotic and familiar. Margo Green is a welcome returning character. She and Constance find themselves in a race to save the man they both love, in different ways and for different reasons.
I suppose one could find fault with the construction of the book if pressed into fine details, but why bother? This book, like all of the Pendergast books, is pure fun and adventure, with a bit of mystery and even some dry humor mixed in.
Rene Auberjonois is the ultimate narrator for this series, and I would find it difficult to imagine a Pendergast book without his voice to accompany. Thanks to both authors and the narrator for many hours of listening pleasure.
Tana French's latest effort involves the murder of a teenaged male student at an exclusive private school. The companion girls' school has a Secret Place where students can express themselves by posting items they don't feel comfortable talking about. As the book begins, someone has posted a message in The Secret Place, claiming to know the identity of the killer.
After investing six hours in this book, I simply could not imagine investing 14 more...so I just gave up, something I almost never do. Although I did enjoy the detective-narrated chapters, I simply could not bring myself to care about what happened to any of the pseudo-Valley Girls attending the private school, nor was I getting a clear picture of the victim and why I should care about him, either. This may have been a function of the narration, which has a powerful impact on the manner in which a book is perceived, so perhaps I'll try reading it in text form on my Kindle.
I was so looking forward to this book, as I have enjoyed her previous books. I guess I will avoid pre-ordering and wait to read reviews when her next book is published.
I truly hope that Galbraith/Rowling has outlined several books in advance, the way that Harry Potter was written, so that the wait between books can be shorter. I have become very fond of Cormoran Strike, and Robert Glenister does a keen and clever job of bringing him to life with a unique voice and manner.
On the heels of his success detailed in The Cuckoo's Calling, Cormoran is slightly more flush than he was in the first book. Without a clear idea of how he will get paid, he sets out to solve the murder of a controversial writer whose wife has been (unjustly, in Cormoran's view) blamed for his grisly murder. Some may object to the graphic details of this crime, and the audible format makes it awkward to skim ahead. These details are central to solving the murder, so grit your teeth and pay attention if you can.
I enjoyed getting additional information about Cormoran's background and we meet some new and engaging characters, as well. I seldom believe that a book deserves five stars, but this book fully engaged me and I enjoyed every minute. Thanks, JK/Robert!
I found this narrator so difficult to listen to; I gave up on this book after about an hour, and cannot give it an honest appraisal. Her dialect/accent seems disingenuous and she often ends her sentences on an interrogatory upwards note, which is usually indicative of someone lacking confidence. I also found her frequent, audible deep breaths to be so distracting that I just couldn't continue. The book sounds worth reading, and I adored Ms. Tartt's The Goldfinch, so I will read the book in print as an alternative.
I bought this book months ago and procrastinated listening to it, primarily because it was billed as a "mystery" and the "cover" seemed to portray a crime noir type novel, and I wasn't sure that was what I was looking for. I was so wrong.
This is an honest and heartfelt coming of age story, with a mystery as a story device to move things along. I heartily concur with other reviewers who insist that Stephen King has gotten an unfair reputation - usually by people who have never read one of his books.
I love Stephen King. I love the way he puts so much of himself so generously in each book that he writes. I love the way he writes dialogue and never assumes an omniscient point of view over all characters - the sign of a lazy writer. Writing in the first person is the most challenging task a writer can take on, and he does it to perfection. We learn about the other characters through the eyes of the narrator, not through broad statements like "she was scared," or "he was disappointed." Instead, we learn about his characters through their actions and their dialogue, just like in real life. Tricky business for a writer, and he does it so skillfully that we don't even realize he is doing it.
Books seldom bring me to tears. This one did. Just listen to it. You'll be so glad you did.
I realize that Barbara Rosenblat is an esteemed narrator, but this is the second book I have listened to that I did not enjoy, because of her narration. This book is not great literature, and I'm sure it was never intended as such. That said, it IS a good story, with interesting characters. A narrator can surely influence the listener's perception of the characters, and her interpretation led me to see some of the female characters as hysterical whiners, when I am sure that is not how the author meant for them to be portrayed. Granted, there are a number of strong female characters, but it is almost impossible to tell them apart by the narration. This is the first Alexandra Cooper book I have read. I liked the book and will read others in the series, but I will read them in print, not as audio books.
I do respect the fact that it took Donna Tartt more than a decade to write this book. It is L-O-N-G, which is not, for me, a deterrent to enjoyment. In fact, I grew so used to the steady rhythm of this book that I was taken aback when the rhythm changed toward the end. I understand that the author felt the need to pontificate a bit, and I may be all alone when I object to this slightly. When Theo expresses his philosophies at the end, this seems (to me) almost a failure of authorship. Generally speaking, an author chooses a character or characters to pronounce the theme(s) of the book, and Boris does quite a good job at this, and so does Hobie. I realize that Theo has something else, something additional, to say, but the clever use of a literary device might make it more palatable than just smacking us over the head with it at the end, thereby compromising the warp and weave of the book's fabric. Maybe she tried doing it a different way, and Theo just had SO MUCH to say that it didn't work through dialogue. Then, I would argue that it is TOO much. It's like a Steven Spielberg movie, when he is so insecure sometimes about the theme that he takes us by the hand and leads us to it, and then yells, "SEE!" He does this, especially, in Empire of the Sun, which I loved. But I felt insulted that he had such little respect for the viewers' intelligence. I feel the same about Donna Tartt. I want to holler, "I get it, I get it, already!"
Having said all that, I did love the book. I loved what it had to say, and (mostly) I loved how it said it. I think, like all things, what we take away from a book is up to the reader. I refuse to sink into nihilism with Theo, although he does expound at great length about the middle ground where beauty and love exist. I think he has not much partaken of those things, but perhaps he will. Who knows?
...in that I did not care for this book. I would not be finishing it if it were not required reading for my book club. I started out with the book as an ebook, realized I would never be able to finish it, and opted for an audible version. I have never been so irritated by a narrator. Why does Barbara Rosenblat take these great gulps of air every few sentences? I never hear other narrators do this. Perhaps she has asthma? Is a heavy smoker? In any event, I find it very unprofessional and highly distracting. And I realize that my ill humor makes me sound like Amelia Peabody herself, who is, in my opinion, unnecessarily arrogant and full of herself. Sorry - I'll content myself being a member of a minority, and pass on the rest of this series, plus any book narrated by Barbara Rosenblat.
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