I am reading the books assigned to my high-schooler, partly so we can discuss them. So in that sense, yes: time well spent. I appreciate having a glimpse of my grandparents' generation as well. In retrospect, I'd have chosen to read a paper copy rather than listen.
I was not exactly surprised by it. The denouement was a little bit flat, though ... in fact, the narrator's emotional reaction to all the key events seemed flat. This may have been partly due to Snively's performance, however.
He has a nice voice but does dialog terribly. He sounds like he's reading a book for children. What could be emotional scenes are rendered almost comical: not good.
Six hours? Sure. There's some lovely language contained in the story, even if the story itself didn't really move me. If it was longer, probably not.
Adjoa Andoh's Nigerian accent (presumably accurate, though how would I know?). I loved hearing the Igbo spoken aloud.
Ifemelu, of course. She is spirited, judgmental, warm, impulsive, and real.
I'd recommend she work on her American accent. We don't all sound like Fran Drescher nursing a head cold. (And "Maryland" is not pronounced "Merry-land.")
Almost. I did have to take a break from the audiobook during long sections of dialogue because of the American accent thing. Luckily I had the paper book on hand, so I could read some of those portions rather than listen to them.
A wonderful book about race, class, Nigeria, America, academia, immigration, and hair.
Kate Atkinson's brilliant writing, though it ties with Fenella Woolgar's equally brilliant narration.
The way the character-building is deepened, not cheapened, by the repeated lives.
Ursula, the protagonist; though she performs them all well.
The scenes of the abusive marriage were difficult to listen to. I was glad when that life was over.
Woolgar's is the best audiobook performance I've come across to date.
Any time spent reading/listening to something thought-provoking is time well spent. I did find I preferred to read my hard copy than listen, though. (See comment on Nick's performance.)
I don't think "enjoyable" was what Waldman was going for. She wrote a book that was meant to be uncomfortable, and it succeeded.
The way he does women's voices: most of them sounded like Miss Piggy. I am not kidding. Luckily most of the narrative is in Nate's head, and Podehl is fine when he's doing the male voice.
Oh, I don't think so. Hollywood would do terrible, terrible things to this movie. Even if it were an indie flick, it wouldn't work: too much time in people's heads. There's not enough action to put this into film form.
The book is described as witty, which it is; it's also described as funny, which it isn't. (Except on occasion.) Waldman is an excellent writer and takes the subject of dating seriously, as she says through one of her characters: "I just hate the way so many men treat 'dating' as if it's a frivolous subject ... Dating is probably the most fraught human interaction there is. You're sizing people up to see if they're worth your time and attention, and they're doing the same to you." Waldman apparently does a bang-up job (according to male reviewers) of getting inside the skull of a man, which is no easy task. The positive reviews she's received from men is surprising, considering she is basically skewering them. Nate seems likable enough until the end; his choices at that point push him firmly into pathetic asshole territory. In many ways, though this book is ostensibly about love affairs, and the plot centers on one, it's the polar opposite of the romance novel.
Money. NewYork. Friends.
The moment where Dennis breaks down and hollers at Jules for being overly obsessed with her history at Spirit in the Woods — and observes that what she's really missing is not money or attention or talent, but her own youth. And the expansive possibility that always comes with that territory.
Tullock does voices brilliantly. She's clearly a trained actor, and she brings a distinct personality to each character in the book. I found myself starting to speak like her after a few days of listening to this, with her ironic-fast patter. But all her female characters except Jules sound like total idiots.
Pride & Prejudice: The 21st-Century New-York-City Adaptation
I definitely felt like Tullock brought a lot to this listening experience, and mostly that was good. I just wish she would give the same nuance to the female characters that she does to the men: Ash in particular sounded like a vapid Real Housewives Of X, when she's not really depicted that way by Wolitzer.
A great premise, skillfully spun out.
Shadow is one of the most appealing male protagonists I've read in a long time.
I don't usually like full-cast productions but this was well done.
No, actually; it took me a while to get into this book, for whatever reason. By the last 1/3 I could not put it down, though.
Gaiman follows the classic Hero's Journey outline, and that's not a bad thing.
RadioLab: the book
Big ideas supported by science and illustrated with interesting anecdotes.
He sounds like Phil Hartman. As this is not SNL, this is not a good thing.
Anyone who enjoys Jonah Lehrer should listen to RadioLab, a WNYC podcast. Lehrer is a contributing editor. The episode
I have recommended it to friends: any book that I tear through in three days gets recommended.
The character development. Grissom has an enormous cast of characters, and each one is distinct and memorable: not an easy feat to pull off.
Although the chance of an Irish child retaining her accent seems slim to nil (she'd have acquired the same accent as slaves who raised her, in reality), Cassidy's soft Irish accent did give Lavinia a distinct characteristic. She brought through Lavinia's hesitant, hidden personality. Turpin's Belle always sounds cheerful and faintly amused, even when awful things are happening to her, which isn't quite right all the time; but Belle is by far the stronger character so it mostly works.
Uncle Jacob: I want to know his backstory.
The first half of the book is significantly stronger than the second half. The conclusion is not as satisfying as I had hoped, but for a first novel, it's a good effort. I look forward to her subsequent works, as her writing becomes more polished.
I'd read it again but not listen again. The narrator wasn't horrible -- she does the teenage voice well, and her pacing is good -- but the action is already fast-paced, with prose occasionally verging on purple (expected with YA) and with the breathless, almost-shouting voice of the narrator, it becomes a bit much at times.
Hana ... almost. Disappointed with her choice in the end.
In the sense that they're both hurtling along, yes; but in this case the pacing could have withstood a slower narration.
"In a world where love is a disease ..."
I read the book on my Kindle in addition to listening to the audiobook. Sometimes I prefer audio but not really in this case.
I was hooked initially, the introductory characters catching my imagination and curiosity, so I was disappointed when we left the brothers and moved on to other, less interesting people. McCann is a brilliant writer, but he tries to do too much here. Entire sections could have been cut with no loss to the concept. He gives too much unnecessary backstory to ancillary characters, when his love and attention is clearly on the brothers and the prostitutes. The narrators were all excellent except the one who did the tightrope walker, who sounds like he's reading off the back of a cereal box.
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