It took me longer to warm up to the Bosch stories than Conelly's other protagonists, and I have read many out of sequence. I liked some and not others; and I finally realized it was not the character, but the narration imposed on the character, which is what really gives the character life. At first, I thought of Bosch as a grizzled old gumshoe, kind of a Mickey Spillane character, which I didn't find interesting. Then the context of the stories and other narrators made me realize he was not that old, and was, indeed, more than just street smart, but actually cultured and intelligent. Even well-spoken. This gave me a whole new interest in the character; so it bothers me when he sounds like a gravelly-voiced geezer.
I love Len Cariou on Broadway, and find him a talented actor. I just don't think he is the right voice for Harry Bosch. It is an incongruity with the fact that Bosch has a young daughter and active sex life that he is made to sound at least in his sixties, to my ears. He would be so much more interesting if his apparent intelligence and culture were the most obvious incongruity with his job. Street smarts do not have to be translated into a gumshoe typecasted voice.
Cariou, unfortunately, defines Harry by his voice. Harry needs his own voice to keep listeners who are looking for more than body counts, interested.
Jury mysteries are always witty and amusing, but this one seems to veer out of its comfort zone by adding ridiculous American stereotypes, bad dialogue, and bad American accents. Kind of seemed as though the author took a trip to New Mexico and just had to make Jury fit into it. He didn't.
Not a new story, but the narration was uninspired and robotic, the love scenes just plain embarrassing, and the story interesting.
I'm a Francophile who spends at least a month in Paris each year. I try to read all books which humanize French history. It's great to be able to better appreciate where I happen to be at any given time and know just what went on there.
However, this book would be much better followed if read in written form. I listen to audiobooks so that I can multitask. But that doesn't mean I don't pay attention--I just can't take notes or memorize sequences. This book whips back and forth throughout history, chapters, characters, and quotes without the benefit of written punctuation. The narrator (one of my favorites, by the way) does an excellent job of injecting dry Brit wit into the writer's comments on much of the historical revelations. However, it is difficult to distinguish between a poem and the narration of any of the dozens of characterizations, and the "2.5.1" etc., (presumably chapters and sub chapters, and sub-sub chapters?) makes my ears stop listening. It can be very difficult to follow, as it is a collection of many separate scenarios, largely unlinked except for the city. The scores of character names are numbing, although the historical research is often entertaining, and certainly revealing.
It's just that, it is almost like a history text book, and really should be seen and read. Reciting chapter numbers and sub-chapters is meaningless and distracting. And, you never know what era the narrator will begin after taking an all-too-short pause. Sometimes if I am just slightly distracted, I'll have no idea what era or happening is being recited by the narrator. By the time I catch up, I have hopelessly lost my place and vow to get the printed book.
All in all, it is impressive research, and very entertaining and enlightening factoids about Paris and Parisians. It is just a bit oblique for a casual listener. And I really don't want to have to listen in a vacuum, as with a lecture.
Although a Francophile, I don't remember hearing about the Paris apartment that had been closed up for 70 years. When I now research that finding, I see that many stories got it wrong. It was not the original owner, Marthe de Florian, who fled the Nazis for southern France around the time of the 2nd World War, but her granddaughter, which is a mystery in itself. This appears to be the best and tidiest accounting of the apartment and the lineage of owners. It also probably speculates as to why the final owner never returned for 70 years prior to her death, but kept paying the rent for all that time. The speculations are quite interesting, and it makes for an engrossing story--especially as it is heavily based on actual events. It seems to have been painstakingly researched to be able to have woven the intricate series of events that lead up to this fabulous find. Almost my only negative comment would be of the very excellent narrator. Especially when narrating the voice of a multi-degreed antiques expert, PLEASE pronounce "jewElry" correctly! (not jew-le-ry).
This was one of Silva's more detailed, and in my opinion, more interesting and educational narratives, giving in-depth histories of some of the world's greatest painters. It has a more or less typical Gabriel Allon story line, but for some reason, Kiara and Shamron do not play as big a roll as in the past. Another benefit for Francophiles is the detailed descriptions of his paths in Paris. Clearly, Silva has been there recently. The book is fast-paced and mesmerizing until the end, which is somewhat disappointing. It is as though it quickly tied up lose ends and just stopped any in-depth narrative. Still very worth the listen, as are all of Silva's books.
I stumbled on the Richard Jury books and found they had very entertaining if odd characters. Each character that continues from book to book seems to get deeper, funnier and better developed with each. This is the most entertaining of all the Jury books I've listened to, and I will likely go for the entire series. The narrator does a lively and excellent job of injecting humor and nuance into a vast variety of voices.
(spoiler alert?) Emily becomes a children's author, and writes books about just what this book is about. It is predictable, allegorical life lessons, as though written for children. Children would be better at suspending belief with a dog angel. The pure of heart triumph, and the impure are shamed.
I don't know if it was just my recording, but it is the only book that I have heard that repeats phrases and sentences occasionally. Bad job of editing?
I can't imagine how TWO narrators, male and female, can both be so misguidedly awful! For some reason, they eggageratedly enunciate as though English was their second--or third--language. And I don't mean when they are characterizing a foreigner--everyone sounds stilted with way too many consonants pronounced in a heavy handed manner. I liked the author from the other novel, but this is a disaster. I would never listen to these narrators again, particularly the male.
Trying hard to show that Nazis are alive and well in the very countries that they brutalized decades ago, the terrible narrator literally speed-reads this. I thought that my iPhone must have accidentally switched to double speed; but no, just awful narration.
The premise is valid, the scare warranted, but the book is not literature. From this sample, I would never consider this author or narrator again, and it was a waste of even the token amount spent on this book. It is not a "story", it is a warning.
A huge fan of the "armchair mystery" genre of Agatha Christie (intelligent plots and puzzles requiring thought sans gratuitous violence), I thoroughly enjoyed Jury's crime solving methodology. While not as much of a fan of the narrator's scope of characterization (why did the sergeant's voice have to be created with the narrator seemingly holding his nose closed?), the clues were all there (fair play a la Christie), and it was just a race to see whether the reader could put the puzzle together before Jury. Jury was a little biased in favor of his personal emotional instincts (Poirot would never do that), but nonetheless, it was a good puzzle and very satisfying mystery. I look forward to reading more of Grimes, and hope there are just as many interwoven literary references, as it makes it all the more enjoyable!
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