I most loved the authenticity and depth of experience in terms of
a highly personal language. I also loved the subjective sense of
Irish culture, society and religion from the point of view of a child,
and then an adolescent, a century ago.
I would compare this book to Joyce's Dubliners, because in that earlier work
one gets that strong impression of subjective reality in a slice of life, which
is in each story, and the language itself has not yet become so deeply complex
and subjective as to bewilder one, as with Ulysses.
I liked the character of Stephen, the main character, as Donal Donnelly portrayed
so well, with tones of childish fears and doubts, and of adolescent reflections and
aspirations, in a variety of voices which are familiar to any introspective person.
The character of Stephen's father was most memorable as captured in the eyes of a young man, at the Christmas dinner table with all his animated arguments and anecdotes, reflecting on life's prospects while having a smoke outdoors with Stephen, and reviewing his own youth as he takes a drink with Stephen.
Forster's sensitive and profound penetration into early 20th century India with both the ironical detachment of the modern and the emotional engagement of the subject Indian. Fully considerate of several perspectives of civilization, history, religion, and sex, it is perfectly rendered by Sam Dastor's narration, which with its dynamics, multiple Indian characterizations, male and female intonations, and varying British accents, brings it to life.
I can't really have a favorite character since the author compels me to appreciate every character in his or her own psychological space and limitation. A perfectly contrasting couple are the two main characters, Aziz and Fielding. Mrs. Moore is a unique and mysterious spiritual character, an English old lady with an older and wiser soul than the rational English could understand-and who becomes a spiritual figurehead for the Indians.
He has a variety of English and Indian voices in his stock, some old and feeble, some dry and sober, some young, some ingratiating and servile,some mean and domineering, some snobbish--as good as an excellent movie.His soft, even-tempered voicing of Forster's narration (when not in dialogue)allows the listener to consider the author's social and religious commentaryas well as hear some wonderous passages of descriptive poetry.
No. I wanted to savor it in its several parts and let the meaning of every scene sink in well enough before moving on to the next.
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