Walnut Creek, CA, United States | Member Since 2002
The Lord of the Rings is a true classic and if you have not experienced it (or only experienced the movies) this recording should be a wonderful experience. This recording includes the prefix and appendices (both at the end of the recording), which might be dry for some, but is great for LOTR geeks. Having an unabridged Lord of the Rings on Audible has been long awaited and is terrific. If I had not been exposed to the NPR/Minds-Eye production of this series I would have been pretty happy with the narration. The Minds-Eye production was abridged but was a really excellent performance. Rob Ingles’ narration is very good, and he does particularly well presenting the difficult epic poetry sections, but I did not much like his singing and overall a simple narration can’t compete with the Minds-Eye performances. Nevertheless I was very happy to have this excellent unabridged version. I started out a little unhappy with the narration, but as time went on I just became quite immersed in the story.
It is not possible to summarize the lessons of history so compactly, and I would not really recommend this book on its own, but as a capstone to Durant’s massive history series it is quite nice. I enjoyed the authors ideas of what America should do to postpone, for a short while, our inevitable demise as a civilization.
The narration of the actual book was excellent, bold and clear, with humor and feeling.
Having read and listened to Durant’s many volume history I completely enjoyed the short interview sections between chapters with the 72 year old author and his wife, Ariel. Ariel correctly points out, one should not take the advice of an old man, nevertheless it was fun to hear the author’s voice and his opinions that have changed over the years. The audio of the interview parts is really not great and the interviewer is not very good (with repeated Ah huhs and sometimes quite silly questions).
This is the story of one day, the Day of the Dead, of a British drunk in Mexico. The prose of this book are, at points, sublime and the imagery and characterizations are strong, but I did not really like any of the characters, and the story was not compelling to me. The portrait of the drunken main character is quite realistic and both compelling and repellant.
I have never read the short story this novel was based upon, but I suspect, as a short story, this would be wonderful. Stretched into a novel, was too much drunk guy for my taste.
John Lee reads these prose with the intensity of poetry with a rhythm and power, but does not do the Spanish justice.
I found this book funny on almost every page. Not ha-ha funny, but a mild warm sardonic funny. This is not a classic tragedy of fate directing the characters to untimely deaths, instead, through an unbiased narrator, we see nature simply take its course without morality or judgment or even meaning, towards untimely death. The narrator seems not to be God, but some neutral naturalistic viewer of all the characters and situations, and from this perspective everything, including death, may seem funny.
If you don’t see the very subtle humor in this novel early on, it will likely seem tediously long and slow, as the novel follows the main character’s developing motivations, beliefs, and actions as they slowly and inevitability, unfold. This powerful inevitability reminds me of Russia writers, as such inevitability is rare in American novels. As I saw the silliness of the character’s choices (which will certainly lead to unpleasant consequences) I felt compassion, yet I had to chuckle.
The characters are very well developed, even the very minor characters, yet I related more with the narrator than any of the characters, and the story was, of course, predictable. I was moved by this writing and think I will be affected by the undercurrents of this novel for quite some time to come.
The narration was flawless, using subtle tones of voice to reflect the subtle inconsistencies and indecision within the characters.
Catch-22 is an absurdist look at military thinking set in WWII with a constant dark backdrop of fear and death. This book is a must read not for the characters or story (which are subordinate to the absurdity of the vignettes) but for the numerous truly classic dialogs. The narration of this version was excellent with great funny character voices and clear delivery of the sometimes complicated dialog.
It is a bit odd that this work is set in WWII but does not feel like WWII in many ways. The mood and characters seem set in the 1950’s with loyalty oaths and constipated conservative military thinking of the Korean conflict.
I had read Catch-22 many years ago, and remembered it fondly, on this reading many of the bits were still really funny, but some were less impactful the second time around. Yet this was totally worth it for the wild iconic dialog.
These excellent prose loosely follow the life of struggling artist growing up in an English coal mining town of Nottinghamshire with a strong loving and involved mother and a rough, disillusioned, alcoholic, and uninvolved father. The later parts of the book seem quite autobiographical, while the early book seems more fictional, more novel like, and less focused on the artist’s character. The author pacts a lot of essential truth into this novel. The characters all feel deeply real, with all the inconsistencies, self-compromises, vagueness of memories, and vacillations of real humans. The author seems fair to all the characters portrayed (which is a common defect of autobiographical novels). The novel does not have any action to speak of, no adventure, little philosophy, just a story about real people living a real life, and that is enough.
The narration is very good, handling the dialect particularly well.
In one sense, this is just another dystopian novel about the historical abuses of the now defunct Soviet Union, in another sense; it describes the essential folly of man through the disillusioning of a true believer. The novel presents a believable character, a fearless communist intellectual that fought passionately for the cause and rose to the elite in the party, so far as to be colleges with Stalin. We watch as the protagonist’s friends do what is expedient by betraying him as the party devolves towards totalitarianism and barbarism.
Although this is not a cheerful story I found it uplifting and strangely positive, as the protagonist cleanly faces the truth of the dark side of his friends and the communist movement. While reading Darkness at Noon I could not help but think that, although the Soviet Union is now defunct, the Soviet era totalitarians are still in control of Russia, and the lies and oppression continue. Just watch Russian News (RT) for a while and count the number of negative Putin stories (generally zero).
The narration was excellent, matching the tone and spirit of the book remarkably well.
The Sound and the Fury starts with a non-chronological stream of consciousness narrative from the point of view of a mentally challenged young boy. This part is a bit hard to follow the first time through and it really helps to read a synopsis (like the Wikipedia entry) before reading this section. Several printed version use italics to indicate the temporal shifts, which are hard to catch in the audio version. At times the prose rise to the level of greatness, but this is not so for of most of the writing. I found the stream of consciousness writing in the first section much less effective (and less enjoyable) than the narration in James Joyce’s Ulysses (which predated The Sound and the Fury by nearly a decade). Here the stream of consciousness, at times, seems inconsistent with the mental capabilities of character, and is subtly broken when the story demands clarity.
Other sections use other narration styles and are more story like. The novel tells a story that rings true, but is unpleasant and unaffirming. This is a story of the slow decay of an upper class southern family and includes demeaning portrayals of black servants, anti-Semitism, and other politically incorrect material.
This novel has some moments of excellent writing, and has some elements that were (almost) revolutionary at the time of publication, yet I found this overall a good, not great read.
This version does not include the appendix covering the fictional family’s history that is included in many later print versions.
Grover Gardner’s narration (as usual) is excellent, particularly considering the challenging material.
The writing and essential truth of the novel is compelling but the protagonist, who is a caring, intelligent, and thoughtful person, is buffeted by fate and his emotions control much of his life. I did not like the protagonist, even at the end of the book. Yet, this book is not about the protagonist, it had no action, and is not even a story of a journey of discovery, but is about an idea, and the book’s title “Of Human Bondage” resonates throughout the book.
This is a great book, but this is not a book to escape into, it is a book to experience and learn from. It was not a fun read, maybe not even enjoyable, but the book is subtle and powerful. As I read the various scenes, I would think “dumb kid”, then think of human bondage, and how his passions and environment bound him, and how elusive is the path to human freedom.
I just read this for the first time in my fifties, but I could see this book would have been even more powerful if read as a young adult. I would recommend this book to any adult, but especially to young adults. This book is unsettling in the best way. My advice, when the book seems off-putting, recall the title, and read on.
The short musical interludes and rare sound effects add absolutely nothing, and are distracting but do not ruin the experience.
The narration is really excellent, expressing conflicting emotions while remaining a very clear reading of the text.
This book is a cop procedural mystery with a nice sci-fi story. As with most of Scalzi the science is well thought out and interesting. This story mixes a lot of action with a compelling mystery, good characters, and a lot of humor. This is not Scalzi’s best work, but it is still quite good. Scalzi works in a bit a social commentary which adds an extra level of interest to the book. This is yet another good example of Scalzi’s unique style and high quality.
The book has a long (2+ hour) audio performance of a fictional documentary covering the disease that is pivotal to the book. I listened to this after the book, but I wondered if it would have been more interesting integrated into the novel, or even before the novel. Perhaps it would be a little too dry before the book without knowing the characters.
I enjoyed the narration and was not annoyed by the use of “he said”. Having listened to unabridged for many years, I think I am used to authors that attribute each line of dialog.
I finished the book wanting to know more about the world and the characters. Lock In was not quite good enough for me to buy and listen to the second narrator addition, and I will not likely listen to this addition again, but if Scalzi writes a sequel, I will certainly get it ASAP.
As a historical romance this book has really steamy explicit sex scenes and more than a bit of sadistic violence. The sex scenes are from the female perspective, and quite steamy but not at all crude.
This is a superior historical romance and it is well read, but it remains only a historical romance. This is not science fiction or fantasy, the time travel is only a tiny plot device that solves a really annoying problem with historical romance. The female protagonist must think in a modern way to be approachable and interesting to modern women, the time travel bit was a brilliant little technique to allow this. I don’t consider this a love story, as there is a lot more to love than what is under the kilt. This was a story of passion, with a bit of adventure and a historical context.
I am a guy, and I don’t tend to like historical romances unless the novel transcends the genre, this novel was good, but did not transcend. In the end, it was just a sequence of scenes (romance, passion, adventure, historical, violent, and steamy) with nice characters and a historical context but never really going anywhere. I find most historical romance either totally unreadable, or enjoyable only because they are so bad they are funny. Outlander scenes are well written and enjoyable, and if I were a bored female, I may have really appreciated the steamy scenes, but I want more from a novel, I want an arc or epic, or exploration, or transformation, or something. Outlander was mildly entertaining but nothing else.
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