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David

Indiscriminate Reader

Member Since 2010

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  • 219 reviews
  • 223 ratings
  • 456 titles in library
  • 22 purchased in 2014
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  • Gone with the Wind

    • UNABRIDGED (49 hrs and 7 mins)
    • By Margaret Mitchell
    • Narrated By Linda Stephens
    • Whispersync for Voice-ready
    Overall
    (2988)
    Performance
    (1961)
    Story
    (1991)

    Winner of the Pulitzer Prize for Literature, Margaret Mitchell's great novel of the South is one of the most popular books ever written. Within six months of its publication in 1936, Gone With the Wind had sold a million copies. To date, it has been translated into 25 languages, and more than 28 million copies have been sold. Here are the characters that have become symbols of passion and desire....

    dallas says: "not to miss audible experience"
    "Epic, timeless, wonderful, also really racist"
    Overall
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    Story

    I kind of don't want to give this book 5 stars. I'm going to, because it was epic. Seriously, it's a really, really good read and Margaret Mitchell is a really, really good writer. She captures the feel of a generation that is lost and a bygone world and makes it real, pulsing with life and bittersweet memory and pride. Her characters are wonderfully vivid and complicated and conflicted, larger than life archetypes symbolizing the different elements of society each one represents. And the story is sweeping and grand. If you've seen the movie and thought it was gorgeous and epic, Hollywood only barely did justice to the source material. Gone With the Wind is deservedly one of the greatest Civil War novels ever written.

    But... there is a really big "but" here:


    "Here was the astonishing spectacle of half a nation attempting, at the point of bayonet, to force upon the other half the rule of negroes, many of them scarcely one generation out of the African jungles. The vote must be given to them but it must be denied to most of their former owners."


    There are a few things that Hollywood rather prudently left out in the cinematic version, and one of them is the fact that every white male character joins the Klan to oppose Yankees and freedmen in the period of Reconstruction following the war. And this is described in approbatory terms by the narrative viewpoint. Indeed, throughout the book, Mitchell compares African-Americans to monkeys, apes, and children, describes slavery as a generally benevolent institution in which kind slave owners took care of their "darkies," and when the slaves are freed, society crumbles because black people are destructive children who can't function without white people telling them what to do. Reconstruction (in which the South learns that yes, you really aren't allowed to own slaves anymore and yes, you really did actually lose the war) is a horror beyond enduring, but we're meant to mourn the lost world of balls and barbecues attended by rich white plantation owners and their loyal, happy slaves.

    Now, you may be saying, "Well, sure, the characters are racist, of course former Confederates are going to be racist." And that's true, I wouldn't have a problem with the characters being racist and flinging the n-word about. That's just historically accurate. But the authorial viewpoint makes it very clear that Margaret Mitchell shared the POV of her characters. Everything about the antebellum South (except its sexism, which is treated with satirical amusement and thoroughly lampooned by Scarlett in everything she does) is glorified and painted in a rosy hue. All sympathy is with rich white Southerners when Reconstruction destroys their world. Their former slaves? The author takes pains to describe how much happier and better off most of them were before being freed. Black characters are all offensive racial stereotypes who are constantly described (not by other characters, but in the narrative POV) as apes, monkeys, and children.

    I don't think you have to be overly "politically correct" to find Gone With the Wind to be a hard book to get through at times, with really glaring evidence of the author's Southern sympathies and unquestioned racism.

    And yet I'm giving it 5 stars. I suppose in the interests of political correctness I should knock off at least a star, but I have to be honest: I was just enthralled by this long, long novel from start to finish. Even while I was sometimes gritting my teeth at the racist descriptions and all the "Wah, wah, poor plantation owners, the Yankees took away all their slaves, life is so hard for them now!" I wanted the story to keep going and going. I wasn't bored for one moment.

    The protagonists, of course, are what make this a timeless love story. Note that's "love story," not "romance," because there's very little romantic about Scarlett O'Hara and Rhett Butler. Scarlett is an evil, conniving drama queen who if she had been raised in a society where women were actually allowed to do things would rule the world, but since she wasn't, she just learned to wrap the world around her finger and tell it to go to hell. She is absolutely the most self-centered character you will ever meet: in her mind, she is literally the center of the world. She sees nothing, understands nothing, and cares about nothing that isn't of direct and immediate importance to herself. And yet within her narrow, blindered view of the world, she's brilliant and adaptive and resourceful and unstoppable. The destruction of that glittering world of ball gowns and parties and negroes waiting on her hand and foot, in which she was raised to expect the world to revolve around her, is harrowingly depicted in her trials during the war and after it, and in her downright heroic accomplishments keeping not only herself but her extended family alive. Never mind that she never actually cares about anyone but herself, she does what has to be done, which is largely why her sister-in-law, poor Melanie Wilkes, believes until her dying day that Scarlett is a wonderful, noble, loving sister, even while the entire time Scarlett was hating her and coveting Melanie's husband Ashley.

    Then there is Rhett Butler. The most brilliant Byronic rogue ever. Rhett kicks Heathcliff and Rochester's prissy white English arses and ascends to the top of the literary man-mountain as a first class scoundrel and anti-hero with a dark, brooding swoon-worthy heart. Because he's ruthlessly pragmatic and mercenary, smart enough to know right from the start that the South has started a fight it can't win, and he makes millions as a "speculator," enduring the wrath and hatred of his peers and gleefully, smugly giving them the finger, and yet in the end he goes off to be a hero. And survives, and becomes a (very, very rich) scoundrel again, and his reputation keeps going up and down throughout the book. He is the only man who is a match for Scarlett, because as he points out, they are so much alike. Like Scarlett, he's awesome and caddish and hateful and the best character ever.

    Scarlett and Rhett's relationship is so much more tempestuous, conflicted, and compelling than in the movie. Every time they are together, it's like watching two grandmasters drawing knives and sparring. They were truly made for each other, they deserve each other, they could be happy together, and yet how could it end in anything but tears?

    Oh yeah, I loved this book. Parts of it are so offensive, it will not bear scrutiny to modern sensibilities (it was pretty darn offensive when it was written, even if they did make a toned-down Hollywood movie based on it a few years later), and if you can't stand reading Mark Twain and all his uses of the n-word, then Gone With the Wind will probably make you want to throw the book against a wall (which will make a big dent, because this is a big book). But it is powerful and moving, the drama is grander than any epic fantasy doorstopper, the romance is hotter than anything I've ever read (I am not a romance fan and I don't usually describe romances as "hot," okay?), and the characters are fabulous and melodramatic and you care about every one of them, even (especially) the African-American characters, despite Mitchell's offensive treatment of them.

    This is certainly not the only "problematic" book I've ever enjoyed, but never have I so enjoyed so problematic a book. If it weren't so damned racist, I'd give Gone With the Wind my highest recommendation. If it weren't so damned good, I could castigate it as a well-written but really offensive book whose author misused her gifts. But it's both, so I recommend it, but my recommendation comes with a big fat warning label.

    Linda Stephens, as the narrator, truly does this book justice. For a book full of Southern characters with different regional accents, and with such strong characters of different races and genders, good narration is critical, and Stephens does a wonderful job, even with the flat, nasal Yankee accents. Her Scarlett and Rhett now sound more to me like the "real" ones than Vivien Leigh and Clark Gable. Absolutely a top-notch reading. So if you're looking for a long, long book to engage your attention for many hours, you can't go wrong here (keeping all the above caveats in mind).

    30 of 35 people found this review helpful
  • Claire DeWitt and the City of the Dead

    • UNABRIDGED (8 hrs and 40 mins)
    • By Sara Gran
    • Narrated By Carol Monda
    • Whispersync for Voice-ready
    Overall
    (275)
    Performance
    (226)
    Story
    (223)

    Claire DeWitt is not your average private investigator. She has brilliant skills of deduction and is an ace at discovering evidence. But Claire also uses her dreams, omens, and mind-expanding herbs to help her solve mysteries, and relies on Détection—the only book published by the great and mysterious French detective Jacques Silette before his death.

    A. D. Mcrae says: "Mostly Disappointed but it was Quick"
    "A mystic detective in New Orleans"
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    Claire DeWitt is the protege of Constance Darling, the "greatest detective in the world." Using tea leaves, I Ching, home-brewed philosophy, and a book by a French detective named Jacques Silette, studying under Darling was like apprenticing as a wizard. Then Constance Darling died, leaving Claire as her heir to the title of greatest detective in the world.

    It's hard to say how tongue-in-cheek Claire is being when she calls herself that, but she states it in a flat, no-nonsense manner that makes people believe it because she seems to. And she really is, as it turns out, freakishly good at what she does, though I Ching and tea leaves notwithstanding, whatever supernatural help she receives is as likely to be the result of the drugs she does not hesitate to sample as the spirit of her departed mentor.

    Claire is hired to find out what happened to a New Orleans lawyer who has disappeared, by his nephew. One of Claire's first observations is that clients rarely actually want you to solve their mystery for them, and this proves to be true. Claire's case takes her through the still flood-devastated streets of New Orleans, uncovering trouble and secrets people would rather she not uncover, and when she solves the case, no one is happy. Pretty much as she expected.

    Claire's voice is dry, wise, and occasionally sarcastic. She operates on intuition, mysticism, and drugs. She's tough but not a superwoman, and she seems to have connections everywhere. The other characters are equally vivid and flawed and contain multitudes, even the missing lawyer who is never seen on-page.

    This was a quick read that is just your basic mystery with a quirky lady detective on the surface, but contains hidden depths. I'll definitely be reading more in the series.

    0 of 0 people found this review helpful
  • Warbound: Book III of the Grimnoir Chronicles

    • UNABRIDGED (17 hrs and 1 min)
    • By Larry Correia
    • Narrated By Bronson Pinchot
    • Whispersync for Voice-ready
    Overall
    (2680)
    Performance
    (2512)
    Story
    (2505)

    Only a handful of people in the world know that mankind's magic comes from a living creature, and it is a refugee from another universe. The Power showed up here in the 1850s because it was running from something. Now it is 1933, and the Power's hiding place has been discovered by a killer. It is a predator that eats magic and leaves destroyed worlds in its wake. Earth is next. Former private eye Jake Sullivan knows the score. The problem is, hardly anyone believes him.

    D says: "Started Strong-Finished Strong"
    "It is what it is, and it's kind of awesome"
    Overall
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    This book is cheesy big guns blazing entertainment, and I loved it. I am giving it five stars not because it is the best of the best, but because it was fun and action packed and it's an example of an author doing nothing more and nothing less than entertaining his audience without pretense.

    Warbound is the third book in the Grimnoir trilogy, so you want to read the first two. It is set in an alt-history in which a magical being came to Earth in the 1850s, and its presence bestowed magical powers on 1% of the population. Most people get a single power, so there are "Brutes" (super-strength), "Heavies" (gravity controllers), "Cogs" (gadgeteer geniuses), "Readers" (telepaths), "Fades" (turn insubstantial), "Torches" (pyrokinesis) and so on.

    Basically, despite the "fantasy" element, these are period superhero novels. And the author devotes many words to describing the battles in full-page multi-panel glory. It's hard to do superheroes (an inherently visual genre) justice in written form, but Correia does a pretty good job. At times he reminded me of his fellow Mormon author Brandon Sanderson, who's also known for his intricate "magic systems" and long descriptions of characters figuring out how to use their powers in creative new ways, but Correia's plots are less contemplative (which is not to say simpler) and more about the action.

    That said, major suspensions of disbelief are required, but no more than with most epic or urban fantasy.

    In the conclusion of the trilogy, war with the Japanese Imperium is imminent, but only the knights of the Grimnoir know that Chairman Tokugawa has been replaced by an impostor. His "son," Iron Guard Toru Tokugawa, knows of the deception and the corruption of the Imperium's magical training schools, Iron Guard, and Shadow Guard, and so has reluctantly joined the Grimnoir.

    Since this is a rising Japan in the 1930s, guilty of pretty much the same atrocities Japan was committing in Asia at that time in the real world, this causes a lot of tension with the Grimnoir, who have been sworn enemies of the Imperium. Toru manifests all the usual tropes about fictional samurai: hard-headed, death before dishonor, all non-Japanese are weak and lazy, grudging respect for Westerners who are brave warriors even if they are ignorant barbarians, blah blah blah.

    A summary of the plot would be kind of pointless: if the premise does not interest you, it's not gonna interest you, but Correia does do a very good job of working within the parameters he has established and then treating it seriously. Powers work a certain way and everything follows from certain first principles, and when some of the big twists are revealed, more pieces fall into place, including some that have been developed since the first book.

    Is this is gonzo gun porn and superhero slugfests? Yes! And awfully darn fun. But awfully damn intelligent for a historical superhero novel as well. And there is a conclusion to bring this trilogy to a definitive close, while still leaving open the possibility (I would guess, based on Correia's prolificness, inevitability) of a new series coming down the pike.

    This is not the best written or deepest or most original series. It's just fun and entertaining. Did I mention fun? Okay, so I am a superhero nerd. But in all seriousness, for what it is, the plotting, pacing, characterization, and worldbuilding were all far above the somewhat low bar I have for this kind of book. Hence, 5 stars. Would read more Grimnoir, definitely.

    And an additional 5 star rating must be given for Bronson Pinchot. I HATED Balki and "Perfect Strangers"! But he is one of the best audiobook narrators ever! Seriously, he nails every single accent, does men and women both flawlessly, and probably puts more life into Correia's characters than exists on the page.

    2 of 2 people found this review helpful
  • Inside the Mind of BTK: The True Story Behind the Thirty-Year Hunt for the Notorious Wichita Serial Killer

    • UNABRIDGED (12 hrs and 40 mins)
    • By John Douglas, Johnny Dodd
    • Narrated By Jason Klav
    • Whispersync for Voice-ready
    Overall
    (105)
    Performance
    (59)
    Story
    (59)

    This incredible story shows how John Douglas tracked and participated in the hunt for one of the most notorious serial killers in U.S. history. For 31 years a man who called himself BTK (Bind, Torture, Kill) terrorized the city of Wichita, Kansas, sexually assaulting and strangling a series of women, taunting the police with frequent communications, and bragging about his crimes to local newspapers and TV stations.

    Petersen says: "Book Spoiled by Narrator"
    "Criminal minds are often small and petty"
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    John Douglas is a former FBI profiler - he's written several previous bestsellers, and reminds us frequently in this book about his pioneering work as a profiler and all the other books he's written. I suspect his earlier books are better, as this one, while interesting, seemed like it was very much written to fill a publication slot. Douglas's own connection with the BTK case is tenuous - he provided some advice to police detectives during the initial investigation of the BTK serial killer when he first began, in the 70s, but had no further connection with the case until many years later, after the killer was caught and identified and imprisoned for life. At this point, Douglas, now long-since retired from the FBI, is filled with a desire to interview Rader.

    The interview itself is only the last chapter of the book, achieved after a lot of hoop-jumping and negotiations with an unfortunate would-be author who had already secured exclusive rights to Rader's story. Douglas's meeting with Rader behind bars at the El Dorado Correctional Facility in Kansas was anticlimactic. Rader presents exactly as we'd expect: a psychopath who is matter-of-fact about his crimes, as there is no point in denying them now, yet still trying to game his image and what people think of him. He's able to tell Douglas little that we don't already know about him, and few additional insights are gained about the inside of this sick pervert's mind.

    Still, the journey along the way was both fascinating and disgusting. Dennis Rader was no criminal mastermind, no charming Manson-style leader or scary monster who makes you look away from his chilling gaze. He was a not-particularly-bright man obsessed with bondage and killing, who wormed his way into positions of small, petty authority where he could terrorize people in small ways while terrorizing Wichita, Kansas in a very real way at night for decades. The only particularly unusual thing about him, as Douglas notes, is that he stopped killing for a while, long enough for the police to think he'd either retired or died, and then started again. It was when he restarted that he got caught, as he began making use of new Internet and word processing technology. This proved to be his undoing. He was quickly tracked down, arrested, and sentenced to life imprisonment.

    Is there anything to learn from Dennis Rader's story? Douglas talks a little about what might have made Rader the way he is. He rejects the "broken from birth theory," though the evidence seems pretty strong that Rader, like all serial killers, was a sociopath at an early age. Douglas probably prefers to believe that Rader had a choice and therefore is fully responsible for his crimes. That seems mostly a philosophical point; we may be curious how someone becomes a serial killer, but with little ability to identify and prevent them, we do as a practical matter hold them responsible for their actions when they are caught, as we must. Douglas repeatedly refers to Rader and other killers like him as "monsters" who deserve to die, which they surely are, but it makes him sound less clinical and more personally invested. Understandable for a former fed, but given that he has little insight to offer on that score, sometimes it just felt like an obligatory reminder that John Douglas is a good guy fighting bad guys, even though he's long since hung up his badge.

    This is not a book for people who have a high degree of empathy for victims, even strangers, as the crimes of the BTK killer are described in detail, though here Douglas does remain clinical rather than gratuitous, aside from a few sympathetic (but wrenching) speculations about what the poor victim must have felt, realizing only after they are tied up what they are really facing.

    What stood out to me was how banal and ordinary Dennis Rader was — a dweeb who could've been taken down by anyone who had the foresight to fight him, yet a combination of luck and cunning allowed him to kill and kill again, even after several botched adventures. John Douglas tries to link himself to Rader's eventual capture by describing how the techniques he innovated decades ago were used, but he really had nothing to do with Rader's actual capture and there's not much evidence that any of the advice he ever gave to the police helped them catch Rader sooner.

    0 of 1 people found this review helpful
  • Terms of Enlistment

    • UNABRIDGED (9 hrs and 40 mins)
    • By Marko Kloos
    • Narrated By Luke Daniels
    • Whispersync for Voice-ready
    Overall
    (479)
    Performance
    (444)
    Story
    (439)

    The year is 2108, and the North American Commonwealth is bursting at the seams. For welfare rats like Andrew Grayson, there are only two ways out of the crime-ridden and filthy welfare tenements, where you’re restricted to 2,000 calories of badly flavored soy every day. You can hope to win the lottery and draw a ticket on a colony ship settling off-world, or you can join the service. With the colony lottery a pipe dream, Andrew chooses to enlist in the armed forces for a shot at real food, a retirement bonus, and maybe a ticket off Earth.

    DAVE says: "Solid military sci-fi."
    "A military SF gem"
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    Marko Kloos is another one of those self-published SF authors who found an unexpected following, hence my discovering this book as an Audible deal of the day. It was, while not epic or on the level of one of the better works of Heinlein or Pournelle or another big-name military SF author, a nice treat.

    Terms of Enlistment shows its very obvious Heinlein influences right away - Andrew Grayson is not exactly Johnny Rico, being a slum-dweller who joins the military for three squares and a shot at an enlistment payout if he survives his five-year hitch. But the training and the ground-pounder action is quite reminiscent of Starship Troopers. That said, it's Starship Troopers without much military or political philosophy, and in fact the "North American Commonwealth" that the troopers serve is a rather skeletal setting. The military is divided into Army, Marines, and Navy, and while Grayson wants to go to space, it's the Territorial Army he winds up in, rescuing embassy employees from civil unrest and quashing riots in tenements like those Grayson grew up in.

    This futuristic military is completely coed, so Grayson falls in love with a Navy-bound enlistee who becomes a pilot, and through a rather contrived set of circumstance, he is able to get a service transfer and then get assigned to her vessel.

    Until this point, the book had been a rather flat sequence of events, full of action but very little plot beyond the main character's ambitions. Then we get to leave Earth, and if the ending is even more contrived and improbable, it does throw a major twist into the story and set it up for a sequel.

    Overall, an unexpected gem which I recommend to all space opera fans, especially if you like military SF. Kloos actually seems to know something about the military and writes convincingly about training, different branches, ranks, and equipment, something a lot of SF authors don't do so well at convincingly portraying.

    1 of 1 people found this review helpful
  • The Yellow Wallpaper and Other Stories

    • UNABRIDGED (4 hrs and 39 mins)
    • By Charlotte Perkins Gilman
    • Narrated By Kirsten Potter
    • Whispersync for Voice-ready
    Overall
    (102)
    Performance
    (88)
    Story
    (89)

    This collection brings together 12 of the finest short stories of prominent American feminist author Charlotte Perkins Gilman. "The Yellow Wallpaper", Gilman's best-known work, was first published in 1892 and represents an important examination of 19th-century attitudes toward women's physical and mental health.

    C. Eagling says: "I love The Yellow Wallpaper. The other stories..."
    "Feminist literature or Lovecratian horror?"
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    Charlotte Perkins Gilman was famous as a 19th century feminist author, and apparently she's taught in a lot of feminist/women's studies courses. I was vaguely interested in her most famous story, The Yellow Wallpaper, so when this collection was an Audible deal of the day, I went ahead and downloaded.

    I'm glad I did. I'll get to the title story in a minute, but I found the other short stories - which were all about a woman being presented with a choice (usually in the form of a man). Clearly there is a feminist undertone to each story, though bear in the mind this is 19th century "First Wave" feminism, so it remains largely a given that even a spirited, talented, independent-minded woman is still going to marry eventually. But Gilman was first and foremost writing short stories meant to have a beginning, middle, and end, and does not beat her readers over the head with any "message." In that respect, these stories were quite enjoyable, some of them having an O. Henry twist. I particularly , in which a moralistic, wealthy old spinster aunt promises her two nephews $50 (a small fortune, especially to children) if they forego butter for an entire year, believing butter is bad for children and too "rich." They do, and when the year is up, the old hag gives them their $50 in the form of membership pledges in a missionary society. The reader seethes with anger along with the boys at the injustice of it, but Gilman delivers a satisfying coda to the story.

    Some of the stories are really just simple romances, though with a slightly feminist spin, but all of them showed that Gilman was a master of characterization and not bad as a prose stylist either.

    Now, The Yellow Wallpaper is famous because it represents an early feminist look at the treatment of women and mental health. The main character is a wife suffering in the aftermath of some sort of nervous breakdown and made to stay in an upstairs room decorated with a hideous yellow wallpaper that she abhors. She wants to leave, she wants to do something, she craves mental stimulation, but her kind but egostistical and patronizing physician husband refuses to let her go anywhere or lift a finger. And so he accomplishes exactly the opposite of his intent as she slowly goes mad.

    This has obvious significance as an indictment of how women with mental health issues were treated, how their concerns were not taken seriously, and how they could be reduced to powerless chattel even by the kindest and most well-meaning husband. However, as a horror fan, I submit that this story can be read completely differently...

    ... as a tale of Lovecraftian horror! A trapped woman slowly discovers the secret of the things that live in the in-between spaces accessible from our reality through unearthly patterns in a hideous yellow wallpaper. In the climax, her husband discovers her after she has gone insane from exposure to secrets man was not meant to know.

    Seriously, read it that way and it totally works.

    Anyway, I really liked these stories, even the ones that were very short and had not much in the way of conclusion.

    2 of 2 people found this review helpful
  • The Picture of Dorian Gray

    • UNABRIDGED (8 hrs and 6 mins)
    • By Oscar Wilde
    • Narrated By Simon Prebble
    • Whispersync for Voice-ready
    Overall
    (530)
    Performance
    (436)
    Story
    (447)

    Oscar Wilde brings his enormous gifts for astute social observation and sparkling prose to The Picture of Dorian Gray, the dreamlike story of a young man who sells his soul for eternal youth and beauty. This dandy, who remains forever unchanged---petulant, hedonistic, vain, and amoral---while a painting of him ages and grows increasingly hideous with the years, has been horrifying and enchanting readers for more than 100 years.

    Daniel says: "Beautifully written, brilliantly read."
    "Satire of aestheticism"
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    Oscar Wilde's only novel, The Picture of Dorian Gray tends to be classified as "horror" because the underlying premise is indeed one of supernatural horror: a dissolute young man is blessed/cursed with eternal youth, thanks to a portrait painted by an artist friend of his which reflects all the sins and depravities of his debauched life. As Dorian Gray stays young and beautiful, his portrait becomes more and more ghastly, until the karmic climax.

    Nonetheless, if you actually read the novel, the "horror" aspects, particularly the supernatural parts, are understated. Dorian Gray, who begins as a rather callow but not evil youth, falls under the cynical influence of Lord Henry Wotton, a professional member of the do-nothing aristocratic class. When the painter Basil Hallward captures Dorian's Adonis-like perfection on canvas, Dorian is overcome with the tragedy of his own face growing old and wrinkled while the painting will always capture him as he was, young and perfect. He wishes it could be the reverse, and gets his wish.

    Unlike in the movie versions, there is no magical Egyptian cat-god or explicit deal with the Devil that makes this happen — for Oscar Wilde, Dorian Gray's selling of his soul was entirely metaphorical. He was apparently satirizing the Aesthetic Movement (though he was himself one of its more prominent representatives) which can best be summarized as "Art for Art's Sake." It was associated with decadence and disregard for social and moral judgments; Dorian Gray was a literal manifestation of the Aesthetic ideal: he sold his soul for Art (or rather, a piece of art).

    Dorian becomes increasingly heartless after his cruel treatment of Sylvia Vane, whom he loved for her art but then jilted when she let him down artistically. After a brief attempt at redemption, he becomes one of the most notorious men in London, though notably, the precise nature of his many evil deeds is never described, leaving it all up to the reader's lascivious imagination. He ruins lives and destroys everyone close to him, yet still manages to keep a few close friends like Lord Henry and Basil.

    (I definitely picked up some homoerotic vibes between Dorian, Lord Henry, and Basil, which is interesting since apparently Wilde had to cut out some of the more overt homoeroticism when it went from serialization in a magazine to publication as a novel.)

    So, read as a horror novel, The Picture of Dorian Gray is kind of lightweight — it's definitely not "scary" — and as a satire/criticism of the Aesthetic Movement, it is not terribly subtle. However, Oscar Wilde was most famous for his bon mots, and reading Dorian, Lord Henry, and Basil exchange wry witticisms is the real pleasure of the novel, even if none of them talk like actual people having real conversations. This book could be mined for quotable lines on every page, and as a story of a man falling headfirst into Faustian temptation, it definitely has its literary moments. It is not perfect (it's awfully convenient how often Dorian escapes judgment by someone else's timely death, and the prose is a bit turgidly Victorian), but it's a solid 4 star book. Definitely worth reading for the one-liners and for absorbing a very readable literary classic.

    2 of 2 people found this review helpful
  • Patriots: A Novel of Survival in the Coming Collapse

    • UNABRIDGED (21 hrs and 9 mins)
    • By James Wesley Rawles
    • Narrated By Dick Hill
    • Whispersync for Voice-ready
    Overall
    (1376)
    Performance
    (1024)
    Story
    (1036)

    America faces a full-scale socioeconomic collapse in the near future. The stock market plummets, hyperinflation cripples commerce and the mounting crisis passes the tipping point. Practically overnight, the fragile chains of supply and high-technology infrastructure fall, and wholesale rioting and looting grip every major city.

    Hugh says: "Accidentally Good"
    "An exhortation to live in an Idaho compound"
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    As a regular reader of James Wesley Rawles's Survival Blog, I was interested to hear what a novel written by him would sound like. Knowing he's a conservative Christian libertarian, I expected a big dose of hatin' on Obama and probably a bunch of atheist liberals getting what's coming to them, but in fairness, the author mostly keeps the right wing vitriol in check until the latter part of the book. But when it does emerge, boy does it ever.

    The first thing to know is that Rawles clearly hopes this book will "wake up" some of his readers, both to the threat he believes is facing the country and to the need to prepare for the coming collapse. Whether or not you believe that hyperinflation will cause a a total collapse of the U.S. government, I have always felt that there is some wisdom in preparing for worst case scenarios, for some value of "worst case." In other words, the preppers are not completely wrong. We can't all move to an armed compound in Idaho, as the characters in this book do, or even build bunkers in our back yards, but we can keep a month or two supply of dried rations, water, toilet paper, and first aid kits in storage. People with pets and kids and medications to juggle have to think more seriously about what they'd do if the power goes down for more than a day or two. And some of us might even include things that go bang in our preps...

    So, when you read this book, be prepared for lots and lots of lists, of firearms, ammunition, accessories, vehicles, survival gear, rations, batteries, fuel types, backpacks, you name it. There are chapters stuffed with "how tos" on everything from blood transfusion to farming. You couldn't actually use this novel as a guide in a real-life grid down situation, but reading it will make you think a lot about what sorts of things you'd need to know. A lot of reviews complain about the listology and the didacticism of the book, and that's a fair complaint - if you just want a good old fashioned post-apocalypse novel, Patriots is awfully dry at times. But since I do actually have an interest in the subject, I didn't get too bogged down with the "stuff you oughta know" parts.

    That said, Rawles is certainly not going to dazzle you with his prose or his characterization either. There are over twenty characters in this book, all of them friends who have supposedly been saving and stocking up for the apocalypse since their college days, and so we get chapters about each of them at one point or another. None of them are really distinguishable from one another beyond a few simply-described traits: there's the chubby Asian gun nut, the ex-Army Officer alpha male, the motherly nurse, the ROTC cadet prepper, the biker machinist (an awful lot of highly skilled individuals with all the right political and religious views just happen to wander down the road to the characters' compound), the token Jew and the token agnostic about whom I can literally remember nothing else, etc.

    The "plot" of the first part of the book is basically everyone getting together on their compound and weathering it out for a few years, as America goes to hell and they have to deal with looters (who are Marxists and cannibals and implied to be gay) and other prepper militias.

    Then comes the second part of the book. This is when the United Nations installs a provisional relief government, and the book shoots straight into gibbering right-wing lunacy. The UN troops are all mustache-twirling war criminals who think nothing of rape and torture, the American quislings promptly agree to suspending every single American civil right (literally the first thing a newly-arrived UN-backed American official does is give a speech to a skeptical community of survivalists that carrying a gun will henceforth be a capital crime), and soon we are seeing, I kid you not, FEMA concentration camps.

    The militia organized by the main characters joins up with a resistance movement, and in a few months they are able to kick heavily-armed UN troops with tank divisions out of the country because Americans are just that awesome. Then they rewrite the Constitution and institute a new U.S. government that would make the Tea Party collectively die of spontaneous orgasmic expulsion of their precious bodily fluids.

    I still give this book 3 stars because it was, after a fashion, both entertaining and informative, but it was like the author was trying to keep his rabid Euro-phobia and Red-baiting impulses in check for the first few hundred pages and then he couldn't hold it in anymore.

    If you have a serious interest in prepping combined with a love of post-apocalyptic novels, this book is worth reading, but if your interest is only in fiction, there are much, much better books, and if you're mainly interested in the survivalist aspects, try Rawles's non-fiction or his blog instead.

    1 of 1 people found this review helpful
  • Life of Pi

    • UNABRIDGED (11 hrs and 41 mins)
    • By Yann Martel
    • Narrated By Jeff Woodman
    • Whispersync for Voice-ready
    Overall
    (10409)
    Performance
    (5667)
    Story
    (5700)

    Pi Patel has been raised in a zoo in India. When his father decides to move the family to Canada and sell the animals to American zoos, everyone boards a Japanese cargo ship. The ship sinks, and 16-year-old Pi finds himself alone on a lifeboat with a hyena, an orangutan, a zebra with a broken leg, and a 450-pound Bengal tiger. Soon it's just Pi, the tiger, and the vast Pacific Ocean - for 227 days. Pi's fear, knowledge, and cunning keep him alive until they reach the coast of Mexico, where the tiger disappears into the jungle.

    Theresa says: "Best audio of the year for me"
    "A good listen despite the agnostic-bashing"
    Overall
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    I was expecting to dislike this book, because I'd heard that the narrator goes off on a rant about atheists and agnostics, and I have a bit of an aversion to be lectured about how empty and meaningless my life is without being filled with the author's favorite flavor of deity. However, as it turns out, the ruminations on religion (and atheism and agnosticism) were not nearly as soapboxy as I feared, and they come from the protagonist, who is a 16-year-old boy.

    Actually, Pi Patel's attitude towards religion is neatly summed up in his anecdote about his spiritual awakening in his hometown of Pondicherry, India. Inspired to "love God," he begins attending church, mosque, and temple, becoming a devout Christian, Muslim, and Hindu - all at once. Much to the distress of his priest, imam, and sadhu when his triple-dipping religious observances are discovered. This is evidently supposed to reveal something deep and universal about Pi's spirituality, but to me it revealed that he's a kid with an understandable yearning and curiosity about the divine, and no intellectual foundation or empirical experience with which to genuinely seek truth.

    But that's all in the first few chapters. Most of the book is about his months-long survival on a lifeboat in the Pacific with a grown Bengal tiger as his sole fellow survivor.

    How does a sixteen-year-old Indian boy survive months on a lifeboat with 450 pounds of hungry Bengal tiger and not get eaten? The tale is a fantastic one, and it's very well told, sprinkled with a great deal of information about zoology and animal behavior. I can't personally attest that Yann Martel did his research, though I haven't read any reviews by zoologists saying he doesn't know what he's talking about. But I found myself believing.

    Which is ironic, because in the climax, the investigators to whom Pi tells his tale, after he finally makes landfall in Mexico, do not believe him. So Pi tells them a different tale. The reader is meant to decide for himself, I suppose, which is the real one.

    I probably shouldn't compare this book to a Salman Rushdie novel, because while the main character is Indian, the author is not, so it should be a coincidence that Life of Pi reminded me a lot of Midnight's Children - the style, not the story. I haven't read enough of either Rushdie or Martel to know whether they really do have a similar style. But the fact is, those two Man-Booker Prize winners both narrated by young Indian protagonists do strike me as similar. Martel also writes about sometimes horrific events with a wry humor sprinkled throughout.

    So yes, this was a good book and I enjoyed it a great deal. But I'm still knocking off a star for the agnostic-bashing.

    1 of 1 people found this review helpful
  • The Wonderful Wizard of Oz

    • UNABRIDGED (3 hrs and 49 mins)
    • By L. Frank Baum
    • Narrated By Anne Hathaway
    Overall
    (2048)
    Performance
    (1818)
    Story
    (1836)

    One of the best-known stories in American culture, The Wonderful Wizard of Oz has stirred the imagination of young and old alike for over 100 years. Best Actress nominee Anne Hathaway (Rachel Getting Married, Alice In Wonderland), fresh from filming The Dark Knight Rises, lent her voice to this uniquely American fairy tale.

    Thomas M Clifford says: "In Time for the Holiday.Give the GIFT of a STORY!"
    ""Why, you're just a great humbug!""
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    Probably many more people have seen the famous Judy Garland movie than have read the book. I listened to this classic because it was an Audible download, and the narration by Anne Hathaway made it particularly delightful.

    L. Frank Baum wanted to create a new and original fairy tale that had all the magic and meaning of traditional fairy tales. Expecting this 100+ year-old children's book to be a childish product of its time, I was surprised that it really does hold up as the classic it is, with descriptive language and clever dialog that is suitable for its young audience but does not talk down to them. It's full of fantasy and magical creatures, but it's a genuine and well-constructed quest. (Fans of Joseph Campbell could probably map Dorothy's quest to the Hero's Journey, but let's not get carried away here...)

    Presumably you have seen the movie if not read the book. Surprisingly many of the famous quotes and scenes from the movie really are in the book. And the movie follows the story from the book pretty closely too, though of course some details are left out. The fearsome flying monkeys, for example, play a larger role in the book (and are more sympathetic creatures, being unwillingly bound to the Wicked Witch's service). Dorothy has more adventures in the book, even after killing the (second) Wicked Witch and returning to the Emerald City. And the Scarecrow, the Tin Woodsman, and the Cowardly Lion are somewhat less comical figures, as Baum gave a little more depth to their deficiencies and how and why they sought to overcome them.

    Also, the book is rather bloody, with the Tin Woodsman hacking dozens of wolves and crows to death, and the Cowardly Lion slaying a couple of giant monsters! Although I think I've been told that we learn in subsequent Oz books that nothing ever actually dies in Oz.

    Anyway, this was fun to listen to even for an adult, and I'd recommend it for anyone who has children of an age to be read aloud to.

    1 of 1 people found this review helpful
  • The Currents of Space

    • UNABRIDGED (7 hrs and 54 mins)
    • By Isaac Asimov
    • Narrated By Kevin T. Collins
    • Whispersync for Voice-ready
    Overall
    (361)
    Performance
    (262)
    Story
    (266)

    High above the planet Florinia, the Squires of Sark live in unimaginable wealth and comfort. Down in the eternal spring of the planet, however, the native Florinians labor ceaselessly to produce the precious kyrt that brings prosperity to their Sarkite masters. Rebellion is unthinkable and impossible. Living among the workers of Florinia, Rik is a man without a memory or a past. He has been abducted and brainwashed.

    thomas says: "Good Solid Asimov"
    "One of Asimov's better ones"
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    Asimov has never been one of my favorite SF authors, but I fondly remember reading many of his short stories when I was a child. He seemed to do best in that form, as he was full of ideas and could pack his encyclopedic knowledge of everything under the sun into a few pages, and never mind the cardboard personalities of his characters.

    The Currents of Space is set on the planet Florinia, whose inhabitants harvest "kyrt," which can be made into the most desirable cloth in the galaxy: it is super-durable, incredibly sheet, and infinitely useful. For some reason, kyrt only grows in the way it does on Florinia, among all the planets in the galaxy. (The reason for this is revealed in the climax.)

    Florinia is ruled by the wealthy Sarkites, who profit from controlling the sole source of kyrt, and who treat the Florinians like serfs. Florinian society is divided into the laboring class and "Townsmen," who are the local representatives of Sarkite authority. They are educated and given special privileges, and so put above the ordinary Florinians. In other words, they're overseers.

    When an amnesiac named Rik (which is a nickname meaning "idiot" to the Florinians) is found on Florinia, he triggers a series of escapades involving a cast of Florinians, Sarkites, and representatives from Trantor, the most powerful planet in the galaxy. The Trantorians dislike the Sarkites' oppression of the Florinians, but they fear being accused of imperialist ambitions themselves, and will not risk war with Sark - both because of galactic political sentiment, and because they'd risk cutting off the kyrt supply.

    In case the metaphor eludes you, it's explicitly stated that kyrt, grown anywhere but on Florinia, is ordinary cotton. So the story turns out to be a combination of planetary adventure and morality tale; Florinia must be saved in more ways than one.

    The plot was well written and brought out the motives and personalities of Florinians, Sarkites, and Trantorians, none of whom are wholly good or wholly evil. I was also pleased at Asimov's descriptions of this advanced interstellar civilization; despite being written in 1952, it was not as dated as some other Golden Age sci-fi. (Except for the women, of course. Asimov didn't treat his women as badly as Heinlein: he just treated them as woman-shaped plot devices.)

    If you like good old-fashioned intelligent space opera in a perfectly self-contained story (The Currents of Space is supposedly part of a trilogy and linked to Asimov's Foundation series, but it stands alone just fine), it is definitely worth reading.

    I found the narration to be particularly good in this audiobook, as Kevin T. Collins subtly shaded our perceptions of the characters by giving them definitive accents. The Sarkites: snooty and English. The Florinians: common and rural. A few of the cops ("patrollers") had Irish accents, and other characters likewise had accents that fit their personalities and roles in the story.

    0 of 0 people found this review helpful

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