Yes. John Lithgow selected and talks to us about a wide and lovely array of English Language Poems. Each poem is read by an actor. Some are silly, others heartbreaking, some angry, a few ecstatic and many longing. If you want to get involved with poetry or reintroduce yourself and/or another adult or older child this is an excellent vehicle to get you started. Recommend getting both this audiobook and the Kindle or printed version to read along.
Each poem is read by a different actor. In each section Lithgow ties in his own experiences with that particular poem in addition to giving a a short but well researched discussion concerning the poet and his/her poetry.
Life After Life by Kate Atkinson.
Yes, I would recommend this audiobook to people who read a great deal and are open to post modern themes and styles.
Nao who is one of the two narrators. She is a sixteen year old who grew up in California who is now living a humiliating life in Japan since her father an uber-programmer lost his Silicone Valley job. Nao writes a journal for an imaged reader who finds the journal washed up onshore in a kitchen freezer bag. Nao's voice is a unique one -- both a self-loathing cubby Teenager who passively allows herself to be violated in so many ways and a wise-woman who looks at the world and herself with a weary smile and wink.
I enjoyed all the characters Ozeki brought to life and death especially: the 104 Monk-Great Grandmother, Ruth the middle-aged American with writer's block, Nao's sad Dad and even the self-admiring cat.
For The Time Being
Hearing the story and sometimes reading along in the Kindle book enhanced my appreciating the story.
Be forewarned some of the material is rough: extreme school bullying, suicide, teenage sex trade and brutal aspects during the training and deployment of Japanese servicemen during WWII.
Both the Audio and Kindle versions are equally strong and work well together.
Goon and Olive Kitteridge are similar being made up of free standing stories that also make up a novel. But there is a difference, the Olive stories work best read as arranged by the author. Whereas time is a goon, here (and presumably elsewhere) music is an ally. The Goon's format resembles a record album with parts A and B. The chapters, like songs on an album, are standalone narratives rather than parts of a coherent whole yet they are inherently connected. Each tells part of the story from the viewpoint of a different character; some (for example, the fourth one) from the viewpoint of multiple characters. The narrative is sometimes in the past tense, sometimes in the present, sometimes first person, sometimes third person and once (chapter ten), second person. We are free to read the stories as edited or at random like a playlist on shuffle.
Roxana Ortega makes us hear and see the characters at different ages and circumstances.
Instead of seeing a hoped for old flame leaving her NYC Downtown apartment, a young lively woman unknown to the two former loves and the reader opens and walks out the door.
Bennie is an aging former punk rocker and record executive. Sasha is the passionate, troubled young woman he employs. Jennifer Egan reveals their pasts, along with the inner lives other characters whose paths intersect from the 1970s through 2020s. The Trickster-Time's impact on body and memory, the Music in one's life, and the possibility for reconnection are this terrific book's themes.
No, it was not worth my time. The material selected left out the most important parts of the story.
Think I will stick with complete readings.
Over melodramatic had the quality of a soap opera.
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