This review concerns only the narration. This may be a great book, but I simply cannot get past the narrator's technique. I really tried. I was just a little nervous at first with the narration (every sentence has the same stress: (da-da-da-da DA), but I thought I could get used to it for the sake of the story.
Then, less than 2 minutes into the recording comes the voice of 'Milo.' A parody of 'hard-bitten cop.' Almost unbearably unconvincing. Okay, well, maybe he won't be a main character. Then comes the principal, Linda Overstreet, Ed.D. OMG! It was fascinating to try to figure out what kind of audio manipulation created this voice. and what, exactly, was supposed to be conveyed by her absurd breathlessness (sexy? overmedicated? just weird?). I knew there would be children's voices coming up, so I masochistically listened on and, yep, distractingly bad.
It's hard to do voices. Really hard. But not impossible. Sorry this book wasn't matched up with a more skilled reader.
The lectures combine discussions of history, comparisons and critique of various theories, explanations of contemporary classical contexts with selected and edifying re-telling of myths and mythical elements. One of the best sections, for me, was her discussion of the difficulty we have in understanding the original meanings, intentions and even content of the myths we only know through later re-tellings by such authors as Sophocles and later Ovid who treat the myths as a basis for literature.
For me, Professor Vandiver's most impressive achievement was the way she was able to sift through such a huge subject and choose and organize material that illustrated her points in the time allowed without seeming rushed or giving the feeling of over-simplification.
John McWhorter explains aspects of the development of English that I have never heard before. His discussions of very early stages, especially his explanations of early contacts with speakers of other languages are fascinating. He also managed to 'talk me down' from my uptight attitudes towards current English speech/writing styles, not an easy task!
spirited, well-researched, unfortunate speaking style
I found Dr. McWhorter's use of what he considered to be foreign accents almost unbearable. He has no ear for this, and it was highly distracting and annoying. His attempts at sounding like children, and particularly his stabs at sounding 'stupid' made my skin crawl. His side comments were often difficult to understand as well as irrelevant. All of this is a great shame, because the content of the lectures is quite good.
One more thing: if the Great Courses people are going to insert applause at the beginning and end of every lecture, they should at least vary the clip(s)--listening to the identical five seconds of applause 48 times detracted from the quality of the recording.
The book seemed to go on and on--and not in a good way. The numerous plotlines: Hugh/Emma, Coldiron/Josephine; Ellen; Catherine Parr; Henry VIII and conscription/taxes, the Battle of the Solent; Jack/Tamiesen's baby, etc., etc. are just too much for one book to sustain. The historical detail is well-researched and interesting, but, again, overwhelming as part of one story.
I was charmed by this book. The narrator perfectly captured the pace of Southern life during the decades covered by the story. His narration added to the extensive character development that sets the tale apart from more plot-driven mysteries. Deathless prose it's not, but story and narration made me care about the characters and I was always eager to listen.
I am a great fan of Dickens, Trollope and other authors of the lengthy Victorian novel. I looked forward to listening through the many hours of this classic early 'detective' novel. Unfortunately, it took much determination to slog through to the end. While there are many positive aspects of the book: the period detail, the amusing satires, especially that effected through the perceptions of Miss Clack. The running 'Robinson Crusoe' joke continued to amuse almost to the end. Sergeant Cuff is someone I'd love to meet again. But my goodness, the almost endless series of individual narratives with their inevitable repetitions was, to me, a torture. Even if one heard this story read out over a series of (many, many!) evenings in the family circle gathered around the fire, I think it would tax the patience of most listeners. In the case of this recording, the doling out of the various narratives to several different readers was a good idea. It did relieve some of the tedium of listening. Unfortunately, these narrators never seemed to have met, because the individual voices do not match from narrative to narrative (For example, Sergeant Cuff's voice is markedly different when interpreted by the various readers.)
Overall, I would only recommend this recording to a listener who had some academic research motive in knowing the story.
There were two very distracting elements to the audio version. One is the narrator's unskillful way of using a quirky vocal habit when reading almost every question used in dialogue. It might have been good if this stylistic trick were restricted to just one character, but when the identical intonation is used for every voice in the story it became more than annoying. I found myself bracing for every spoken question and even then it made me flinch. The second was probably the fault of the editing. In transitions of time/place/character, where in a written text the reader is cued by a break of several lines or some other visual indicator, the recorded version has no such clue. One finds oneself, startled and confused by the sudden appearance of a character who is miles away, only to realize that the scene has changed with nothing to indicate it. Then the reader has to make a mental shift and play catch-up to rejoin the story. This happens over and over and over.
Combine this with a ludicrous comic-book ending and, well, there are better ways to spend one's time and money.
While the story itself is an important one, the book was a frustration to listen to. It was an act of patience to tease out the facts from all the sentimental anthropomorphizing. We DO NOT 'know' what the dogs were thinking, wishing, remembering; we can only use our intelligence and compassion to develop a useful understanding of their behaviors and needs. Another source of irritation was the narrator, who articulated the text as though he were recording it for a class of foreign language students just learning English. These complaints aside, I did listen to the end, because, again, this is an important and mostly inspiring story.
Pat Barker captures the devastating effects of the First World War on those in the front lines. Her vivid and insightful descriptions of the suffering of the survivors and, in this volume, doctors in a military hospital treating their psychological scars, are deeply moving. The device of including real historical figures such as Siegfried Sassoon, Dr. William Rivers and Wilfrid Owen heightens the realism. The articulate internal and external debates about the morality of fighting a disastrous war with no clearly defined ultimate goal or competent strategy makes the story oh, so relevant to contemporary readers.
Have you ever watched a really bad telenovela? This is worse. I listened on to the very end, in a sort of a stunned trance, not believing that any book, let alone one by Russell Banks, could be so bad! A hackneyed, melodramatic, and haphazardly organized mess revolving around two narcissistic trouble-makers.
And the narration? omigosh! Sometimes the reader sounded like he had made a bet he could narrate the book while holding the text upside down, at other times, he seemed strangely and inappropriately overexcited, using a voice one might use to shout through a wall to someone trapped in a burning building. I downloaded this book on impulse, because I have enjoyed Russell Banks in the past. What a mistake!!
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