This book just kept getting better. The novel takes place in one day, at one football game. The more I listened, the more surprises and turns of plot. The author has a great feel for 2004 and life in Texas and football and film agents and guys on teams and, yes, young love. The narrator was very strong, good with his characters' voices. I will read The Yellow Birds next, the other highly praised Iraq war novel--but this one was entertaining and insightful. Very sympathetic characters too.
Three Brothers portrays a world in which ambition and success lead only to misery. Of the three brothers, the oldest, Harry, makes his way in journalism through connections and by burying stories of corruption that would cause his boss financial problems. Daniel, the middle brother, becomes a professor and critic who is increasingly panicky about hiding his homosexuality. The youngest brother, Sam, has neither goals nor friends, but the author seems to regard his meekness as the greatest virtue. The brothers lose touch with each other early in the book, after their mother mysteriously abandons them. Their lives become three parallel but separate morality tales. The author is especially harsh on foreigners, like the South Indian Asher Roopta, a corrupt landlord. The book aims at a Dickensian flavor, with scenes at every level of society and with oddly named characters and coincidences. But even Dickens' most odious characters (Uriah Heep) were understandable, while Ackroyd's villains are cardboard targets. I confess that I enjoyed the book's first few chapters, until the author became increasingly bitter and his characters increasingly mean. Steven Crossley's narration was very good, as always.
Jo Becker has written a compelling drama, tracing the history of the lawsuit that declared unconstitutional California's Proposition 8, revoking the right to gay marriage. The author has a nice ability to take complex legal concepts--heightened scrutiny, equal protection--and make them clear and understandable. More important, she has a great ear for detail, so the characters all come alive. She focuses on the four plaintiffs--Paul and Jeff, Chris and Sandy--and the depth of their feelings for each other, as well as the importance of the case to those within and outside the gay/lesbian community. She also conveys the hard work, strategic decisions and almost obsessive attention to the case by the key lawyers (mostly Ted Olson and David Boies, with troops of lawyers supporting them) and the public relations groups advising them. Becker highlights the opposition from "traditional" gay advocates, who lobbied to avoid a federal case as they moved forward state by state, for fear of moving too quickly. She also provides an entertaining summary of the parallel Edie Windsor case, which set aside the Defense of Marriage Act, and its legal team. The ending, which was of course covered by newspapers and TV, is quite moving. Overall, the book is filled with lively personalities, nicely drawn, in the context of a very significant civil rights case. The narrator had a light touch.
This melancholy novel focuses on a troop of three actors wandering in the Andean villages of an unnamed South American Country, performing a political play written by one of them years earlier called "The Idiot President." That play had gotten the playwright thrown into a vile, dangerous prison as a terrorist, and now the troop is reviving the play for small mountain audiences. But the novel focuses on Nelson, a lonely young actor who recently broke up with his girlfriend, who somewhat arbitrarily joins the other actors to play the "President's" son, and who suffers the consequences of others' selfishness.
The novel surprises again and again. It is so unpredictable. And some moments are utterly chilling. But it's real charm lies in the mood it evokes, one of fatalism and resignation, one where you long for the characters to do the right thing or at least to overcome their circumstances. But again and again, it seems like no one is in charge and no one bears responsibility.
The narration was very good, too.
The novel is set in a milieu that is ripe for deep consideration of issues of war, home, bigotry, fascism and faith, namely, Lisbon in the late 1930s, a city filled with refugees fleeing Europe and trying to find new countries to accept them. But the novel focuses instead on four shallow, silly people who act like spoiled teenagers out of Gossip Girls. The narrator is a car salesman; the other couple write mystery novels under a pseudonym. The characters are disengaged from the war and nearly oblivious to the tragedies around them, both in Lisbon and in Europe. No doubt there were plenty of dull, disengaged people trying to leave Europe at that time, but it's not something worth reading about. The audiobook narrator had a good sense of voice for the characters.
Moth Smoke presented a lively but disturbing portrait of life among the wealthy and privileged in Pakistan. The novel includes a Great Gatsby-like love triangle between the narrator, his best friend and the best friend's wife. The narrator, who is smart and handsome but whose background is less privileged than that of his friends, finds himself in increasing trouble as he tries to exercise the prerogatives of the young and rich without the means or connections. And despite the narrator's strong moral sense, he has a devastating sense of entitlement that ends up creating havoc in his life.
The images of Lahore, with its disparities in wealth and its casual corruption, were informative. A favorite minor character was the narrator's young servant, who comes the closest to a moral center for the novel.
The narration was well done, and the story easily holds up through the end. One drawback: The beginning, with allusions to Pakistani myths and an imagined courtroom scene, is hard to follow in audio. It's the kind of book you have to get in hard copy just to check out what was going on at the beginning. But then, as the novel flows, it gets easier to follow. Overall, a worthwhile and entertaining read.
This was a wonderfully written book, with pitch-perfect characterizations and a compelling plot. I found myself repeatedly surprised by the plot twists and the unexpected developments (like the way the characters' kids turned out). The underlying theme of the strength of relationships built as teenagers was fascinating--the relationships built in a couple of summers prove to be the most important relationships of these characters' lives, despite growth and marriage and fights and the rest. The narration was excellent, with subtle shifts in voice and tone to immediately identify the numerous characters, but without sliding into exaggeration. Minor characters were fun and well drawn, too--the camp founders, the Icelandic counselor, the folk singer. They all seemed real. Surprisingly, one of the most likeable characters was a husband who hadn't gone to camp and who wasn't artsy. He provided a nice contrast to the "Interestings." All in all, a beautiful novel.
Glen McCready was an ideal narrator for this factually based story of heroes and others in Czechoslovakia in World War II. The novel presents a young man, trying to understand his parents' relationship and their possible support for the Resistance in World War II. There is an ominous, almost menacing tone to McCready's narration, as the young man gets closer to his parents' history. Among the livelier scenes were those from the protagonist's boyhood in the US, surrounded by emigres from the postwar Czech world, so many trying to understand what had happened to their lost world. But there is a heaviness, too, as the book confronts the horrors of the war and the suffering of these sometimes sentimental emigres. Very well written and read.
George Howe Colt provides a masterful, well structured analysis of brotherly relationships. The book uses famous brothers to illustrate his themes: John Wilkes and Edwin Booth for "good brother, bad brother," the Kelloggs for sibling rivalry, the Van Goghs for "brother's keeper," etc. Most entertaining are the digressions about so many different brothers in history: Cain and Abel, Jacob and Esau (does God favor the younger brother, even if he's a trickster?), the Rothschilds, Lehmans, Kennedys, Nixons, Carters, Mayos, Melvilles, Jameses (Jesse and Frank; Henry and William), Joyces, Bellows, Emersons, Thoreaus...even Romulus and Remus and the Five Chinese Brothers in the old children's book. If you have a brother, you will love all of this.
Alternate chapters tell the story of Colt's own brothers: how they grew and fought and looked out for each other. For those who grew up in the '50 and '60s, there are wonderful details about life back then. But ultimately, the Colts fade in comparison to the famous brothers profiled elsewhere.
The narration is serviceable and professional, holding the listener's interest without drama. Overall, a very enjoyable book.
Simon Vance did a beautiful job of narrating this classic Dickens novel, which I had never read. But I confess to disappointment in the book. The good guys were too virtuous, the bad guys too slimy (although I loved the scene where Micawber keeps saying "Heeee-eee-eeep...Heee-eeee-eeep"), and it kind of went on and on and on (33+ hours). I am a big fan of several Dickens novels--Great Ex, Two Cities, Oliver Twist--but perhaps for a longer book like this, you are better off reading it on the page, where you can skim over the slow parts.
I loved the openness and insights of the narrator of this Jamesian novel, looking back years later on the life changes he underwent as a foreign-born graduate student at Harvard. The unnamed (I think) narrator longs to be part of both the elite Cambridge community and the working class taxi-driving community of North Africans and other exiles. The narrator is drawn to the brash, vulgar, impulsive Kalash, feeling as foreign (at times) as his hard-to-control friend. The changes in his attitude to Kalash, to Cambridge and to the Harvard community provide the book's momentum. There are moments of laugh-out-loud humor that subside to the deepest sadness. Beautiful portraits of the immigrant community within a very special American subculture.
The narration by Sanjiv Jhaveri left me with mixed feelings. At first, I thought his accent (assumed for the book, based on his accent-free introduction and a few other characters' voices) was a caricature, something you might find in a comic foil on a network sitcom. But as we got to know the narrator, elements of Jhaveri's voice became appealing--a longing quality, a wistfulness, an eagerness to please. I was very sorry to "miss" his voice when the book ended.
All in all, an enjoyable listening experience that made me want to read more by this author.
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