Cotacachi, Ecuador | Member Since 2013
George Carlin need only be heard to be appreciated. You remember him pacing and gesturing as he crouched on the stage, delivering rapid-fire, surgical observations on the follies of humankind. Maybe it's his early days in radio, but the voice is among the most expressive anywhere. He leaps from rage to rant to sotto voce, from lecturing to confiding, as he plays a whole range of the characters who populate his wildly imaginative essays. You could listen to him for hours--and you will. Along the way you'll remember that Carlin was never just a comic. He was an articulate, informed, educated, and always opinionated eyewitness to the human condition. Hilarious and off-color, of course, but he covers an awful lot of ground in this collection, and really makes you think.
From its iconic, elegiac opening paragraph to its extraordinary finale, when disparate elements accelerate and converge like a meteor swarm, “A Prayer for Owen Meany” is an awe-inspiring John Irving masterpiece. He always begins writing a book from the end, he says in an appended interview, taking as much as 18 months to devise a “roadmap” of the story. It’s the only way to imagine the creation of such a complex, multilayered opus—long but never tedious, laced with chilling portent, and all at once engaging, funny, moving and tragic.
It begins with a fateful Little League game in 1953, and goes to times and places where only John Irving could take it.
There is a concept in journalism called “advancing the story,” where a writer continually reveals new developments, rather than heaping on details that simply make the story longer. Irving is a virtuoso at its fictional counterpart. Just a couple of hours into “Owen Meany,” you’ve heard so much, in such gripping and intimate detail, that you begin to wonder what could possibly fill the remaining 25 hours or so. You wonder how it could ever end, and then, later, you fear that it will.
I am not a religious person—neither, he says, is the author—but its religiosity is what gives the book such strength of character. My life has been enriched by listening to Joe Barrett’s masterful reading of “A Prayer for Owen Meany.” It’s that good.
Reviewers typically give up when it comes to the work of Charles Portis, saying in one way or another that it simply can’t be described. That’s just how I feel after hearing “A Dog of the South” and learning of him for the first time, long after I should have. It is a rambling little yarn of the Deep South in the 1970s—so Deep that it rambles into Belize. The characters are a tattered, mismatched bunch of shifty failures, grifters, evangelists, shallow dreamers and a couple of weird children, all of whom, for some reason, are easily imagined as shadowy figures in the dim light of a bare bulb in some rundown hotel.
Ray Midge’s friend has stolen his wife and his car and headed to Mexico and beyond, and Ray goes after them—to retrieve his car. The people and puzzlements he encounters are beyond imagining. The plot is a barely-necessary device to support the author’s hilarious and inventive prose. For example, he arrives at the steamy, seedy Fair Play Hotel in Belize and meets the night clerk:
“She woke a small Negro boy named Webster Spooner, who slept in a box in the foyer. It was a pretty good wooden box, with bedding in it. I knew his name because he had written it on a piece of paper and taped it to his box. At the foot of his makeshift bed, there was a tomato plant growing in an old Texaco grease bucket.“
The first sentence would be plenty good by itself, but Portis piles on unexpected details that yield rich and riveting descriptions of an exceedingly strange world. It is deliciously funny.
As I said, it can’t be described. The soft Southern accent of David Aaron Baker provides the perfect first-person voice for Ray Midge—a decent fellow with good intentions and vague ambitions you know he will never realize. But listening to his zany adventure unfold is an excellent way to spend eight hours. You won’t regret it.
The particular genius of Stephen King at his best is an ability to concoct supernatural situations that are patently absurd, and then guide the reader down the twisting path of an inventive storyline toward unconditional credulity. By the time characters start swapping minds between their bodies or “flipping” into parallel dimensions, it has all become strangely plausible. This is one of those books.
“Doctor Sleep” provides the long-awaited sequel to “The Shining,” one of King’s earliest successes, and especially the character of little Danny, now all grown up and tormented by alcoholism and ghosts. It’s probably not necessary to know the original in order to enjoy the second, but it helps in small, significant ways.
Here is more of King’s pure invention: a band of elderly characters traveling the country in RVs, whose golf pants and liver spots mask a breed of ancient vampires called The True Knot (just “the True” to their friends). They feed—not on blood, but on the mystic essence of children who happen to possess the psychic powers of “the shining,” as Dan does. This essence is called “steam,” and its extraction is brutal, painful, and eventually fatal. For the True Knot, it's life itself. for centuries.
Downloaded in three parts, I wasn’t initially sure I’d stick with it. Not every King work is an unqualified page-turner for everyone. Before the end of the first third I was hooked. The reading by Will Patton is another tour de force, making a gripping story even more emotionally wired. He can do more with a harsh, throaty whisper than most could do with a scream, making your skin crawl. I couldn’t put it down, and I hated to see it end.
A leisurely listen to the account of Steinbeck’s iconic road trip after all these years is pure pleasure, and the wisdom of his penetrating observations is undeniable. Perhaps the best known is, “We do not take a trip; a trip takes us.” There is also compelling reasoning for traveling alone, and in revisiting the haunts of his youth on the West Coast, surprising insights into the true nature of ghosts: they are us.
The most powerful experience is that of his sweep through the racist Deep South of 55 years ago, and it’s enough to make you squirm. As it did him.
I do not know what the voice of John Steinbeck sounded like, but from now on it will be that of Gary Sinise, who provides exactly the right mix of warmth, irony, and—at the end—exhaustion from a marathon observant journey across America.
In this monumental, meticulous work by David McCullough, John Adams is intimately revealed as a passionate, visionary, bullheaded patriot, sometimes arrogant, and at times gullible when others conspired against him, which was often. He was as responsible as any, and more than most, in propelling the difficult birth of a great nation against all odds.
The portrayals in this book can be surprising. In contrast to historical images of bold and thoughtful men working together, there were constant clashes of egos and competing personal agendas among the founding fathers. They were mortals—the irascible and sometimes indolent Benjamin Franklin, Alexander Hamilton, and many more. Hamilton, especially, was a treacherous and self-aggrandizing man whose vicious and false public accusations cost Adams his reelection and ultimately ended Hamilton’s own career. The revered Thomas Jefferson comes off as something quite different from his reputation: a vain, mercurial, spendthrift, self-centered man who can be a trusted friend one day and a scheming, duplicitous betrayer the next. The architects of America comprised a cast of heroes and scoundrels. Many were both.
For those who worry about modern digital messaging consuming too much of our time, have no fear. It was rampant 250 years ago, via quill and ink, when people wrote endless letters and kept daily journals in elaborate prose, rife with literary and scriptural quotations, describing and debating the issues and events of the day. It was oddly formal. Abigail Adams addressed her beloved husband in letters as “My dearest friend.” Any educated person must have written millions of words in a lifetime. It’s difficult to imagine how they had time to do anything else. Parsing them must have been a colossal task for David McCullough, but it creates a history that would otherwise be far from complete.
There are fascinating insights here into 18th century politics. For example, presidential candidates in those earliest years took no part in the campaign, staying home for months and waiting to see what the outcome would be.
Although McCullough himself is also a fine narrator, Nelson Runger does a superb job through all thirty hours.
Adams and Jefferson, in particular, were often at odds and sometimes didn't communicate for decades. But their lives at last converged once more in the years of their retirements, when they carried on a memorable exchange of correspondence on every conceivable subject. And in one of history’s stunning coincidences, both men died in their homes on July 4, 1826, precisely the 50th anniversary of the independence of the nation they had worked so brilliantly to create.
I've read/heard and greatly enjoyed and admired several of Anne Rice's vampire chronicles. This one, not so much. The reading is superb, and for that matter, so is the writing. But the story falls short for me. Although devoted followers of the series will probably disagree--and I didn't come to the book expecting hand-to-hand combat among immortals--after 90 minutes of listening, when nothing whatever had happened, I gave up.
As a resident of the Andes, I thought I’d better learn a little more about the Incas, whose legendary empire encompassed immense portions of South America and established monumental cities and road systems—but really lasted only a century in its full imperial incarnation.
Terence D’Altroy knows his Inca (and pre-Inca) history, and his lectures are lively and articulate. The recording does have some editing errors causing repetitions, and the droning “announcer” before and after each section, with the contrived insertion of one question from an unheard student, recalls the most deadly of voices from the old days of classroom films. But that is cosmetic, and overall, this very accessible series of lectures offers more than almost anyone could wish to know about the lightning rise and dizzying fall of one of the greatest and briefest of the world’s dynasties.
“I have a 4 millimeter camera and thousands of meters of film,” remarks one character. Arthur C. Clarke’s science fiction masterpiece doesn’t predict everything with accuracy, whether it’s the evolution of digital cameras or the failed dream of worldwide adoption of the metric system. But it does paint a fascinating future in which the malaise of prosperity and unlimited leisure time leads in an unexpected way to the complete disappearance of professional sports, for example, and most scientific research.
I must admit that I’m not a serious science fiction fan, though I do appreciate a good story. And my conclusion is that this is a better story than it is spellbinding prose. The plot, despite those occasional holes, is inventive and often surprising. It covers a lot of territory, sometimes in dramatic leaps, after a bit of a slow start. The writing, however, is stilted and formal in style, and so is the narration. But the story carries the day, as it must, and the result is a good listen to a seminal work.
David Sedaris, like most entertainers, is usually at his best before a live and appreciative audience. He is a very funny guy, and the invariable audience response electrifies the experience.
“Naked” is a different kind of recording, but no less engaging and maybe even more so. It’s a studio production, with no audience. There are a few staccato jazz bridges, and multiple characters briefly and brilliantly voiced by his sister, the extraordinarily talented actress and writer Amy Sedaris. And David reads his writings as only he can.
The sometimes cringe-inducing title piece comes at the end, having to do with visiting a nudist community, but the entire performance is an intimate, candid self-portrait, in which David reveals as much about himself as he has always done to his siblings, to their frequent dismay. It’s very funny—I laughed out loud countless times while listening—but also deadly serious. As such, it’s a fascinating audio achievement to be enjoyed and admired.
By now, Stephen King has produced such a variety of books that he is increasingly difficult to pigeonhole. Fans of horror will find something closer to a classic detective story in “Mr. Mercedes,” and a good one. There’s the hard-bitten cop (retired), a truly demented criminal, and a range of characters who populate the twists and turns of a complicated whodunit. But in fact, we know whodunit pretty early on. What happens next, and what happens after that, is a nonstop series of surprises building to a heart-racing finale. Horror fans will find some pretty horrifying scenes, too.
A great story, and narrator Will Patton is up to the task. The subtle shading of his voicing for each character, even when not reading their actual dialogue, is a work of consummate skill.
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