This was my first Christopher Moore book from Audible, and I loved it. I quickly got everything else from this delightful author that is on this site. Though it is all light fare, Moore is a wonderful writer. He knows how to tell a tale, create compelling characters, build tension in all the right places and, most important, how to do that most astonishing thing - make one laugh out loud.
The narration on this story is terrific. Fisher Stevens hits perfect notes of mild bemusement, subtle enthusiasm and stark terror as he tells the story of the ultimate "Beta Male", Charlie Asher (don't let the music in the beginning throw you, it only comes up a few times, thankfully). All of the characters are well drawn and loads of fun; particularly Lilly, the perpetually irritated goth working at Asher's Second Hand. Though she does stand out (Moore must have a teen-age daughter), there is not a dull individual in the lot.
I believe this to be one of Moore's best in the Audible collection (only beaten by Fool), but I have not been disappointed by any of his titles here. Enjoy!
I am so surprised at some of these reviews. This is a real thought piece, not something to be taken at face value. To the reviewer who "hated Jeff in Venice", you were supposed to hate him. Here the Biennale represents the height of contemporary decadence. It is one long string of vacuous conversations, holding together a narrative of sex and drugs that make up the contemporary art scene. It's easy to make fun of contemporary art. Dyer takes it one step further and has written a scathing critique of the entire art world. Anyone picking this up and hoping for Thomas Mann will be disappointed. This is Tom Wolf, unleashed on the new millennium.
The book changes gears rapidly and beautifully when we get to Varanasi. The western comparisons to Venice are there, as we witness a transformation of the main character. He enters onto a zen journey into the "true and universal self". After all, isn't that what Atman means?
This is a great contemporary novel. One worth either listening to, or reading, carefully.
Before I write anything, know that I'm normally a fan of Nicci French. But this book, a fantasy about the classic "helicopter parent" (one who, in spite of the fact she wasn't really paying attention to her kid when she was around, knows everything and is better than all the "so-called experts" (i.e. the police) when it comes to her child), was simply a disappointment.
This book, alongside "Chomp" has a kid as the main character. So, it requires the right narration. Unfortunately, Heyborne (who did a great job on "Gone Girl") chose to read this in a breathless, winsome voice. I found myself wishing for James Van Der Beek, who did a terrific job with "Chomp". He took the right Hiaasen tone, self-assured, and just this side of cocky. Heyborne interprets the main character as gape-jawed throughout, making it difficult to stay with.
It's still Hiaasen, and it's still Skink. It just needs a Van Der Beek, or some other such reader, at the helm.
Nathan McCall's "Them" is a very different kind of book for our time, one that is sorely needed. The book contains no easy answers. There are no action scenes, no passages containing graphic sex, and no idealistic platitudes or easy answers. In other words, this is a book we all should take the time to read or listen to.
Everyone in the book has a point of view, locked inside their own private bubble, unable to see outside that bubble. The narrative moves on the subtle plot point of, "Can one get outside of this bubble"? There are indications that we can, but the book offers no definitive answers. Honestly, we can't answer this question right now because we are in the midst of severe racial, class and political stratification.
As the book builds, I found myself more and more hooked in - the indication of a well-crafted narrative. If you feel it starts slow, let it. Stop being rushed and distracted and pay attention. This book brings up issues we all must pay attention to. And it does it in the sweeping way that good writing always does: it lifts us out of our existing world and sets us firmly in the midst of another.
This other world is Atlanta's old Fourth Ward, an historic black community in the midst of rapid gentrification. But this tale is not limited to Atlanta. This is happening in my own city (Cleveland) and is going on throughout the country. The disruption of long-standing communities has occurred all over America, from Brooklyn to Oakland, and no one is talking about this. Except Nathan McCall.
I was surprised to read that this is his first novel. It is so well constructed, the characters are so well seen, and the narrative moves forward so steadily, it feels as if it's crafted in the sure hands of a master. I hope this great journalist creates more fiction for us to immerse ourselves in. I'm awaiting his next book (fiction or not).
The reader is spot on. He did a fabulous job, with the exception of some of the female voices. He chose to make them a bit too "weak", but I imagine it is difficult to switch genders easily…especially in this polarized world we live in. For the most part it is phenomenal, and I encourage all to listen and stick with this great book.
The writer is so caught up in her own cleverness, the story never gets off the ground. I couldn't listen to it. I don't want to blame the narrator, who is struggling with this weak material.
For starters, I'm a Carl Hiaasen fan. I have every book written by Carl as solo author, and love most of them. I loved this story. It follows the classic Hiaasen formula: disgruntled, alienated anti-hero who loves the landscape of Florida; smart, no-nonsense female lead; stupid criminals, one of whom becomes more and more disfigured through the story while they do everything in their limited intellectual powers to harm the environment, and a plot full of fun twists and turns. Everything you want from Carl is here, plus a wonderful cast of secondary characters, all suffering from various states of delusion, incompetence and (at times) outright stupidity. Everything we love about Carl Hiaasen is in this book.
Arte Johnson is not the best narrator (my favorites for Hiaasen are George Newborn, Hiaasen himself (he did a bang-up job on Basket Case), and believe it or not, James Van Der Beek), but he is also not the worst. A number of people savaged his narration - it's ok, not terrible. Carl deserves better, but I still loved the book, so that means the narrator did not get in the way.
I say, pick it up. It's Carl. How can you go wrong?
Oh, if only we lived in Carl Hiassen's world. Where the bad guys always loose (in the most entertaining of ways), corruption meets it's comeuppance, the environment is always saved and good people manage to find each other and eke out an existence in this stupid, silly world we live in.
This is classic Hiassen, from the corrupt judge to the hysterically stupid white power militia thugs to the small town living on fake christian miracles. If you like Hiassen, you'll love this one. Paced beautifully, peppered with crisp dialog, smart insights and great comic timing. I'm sorry it ended!
The subject matter of this book is compelling. The production quality is very high. The voice actors do a mighty job. This is just pure trash, though. There are very, very few books I give up on, and this now joins that very short list.
I started Tana French with "In The Woods", a taught psychological mystery, and looked forward to following the character Cassie Maddox as she takes over the lead from her psychologically damaged partner from the first volume in the series. If you haven't read "In The Woods" yet, stop, download that volume, and go through it first before entering into this world. The actions that Cassie takes in this book are directly related to events in the first volume of Dublin Murder Squad. You don't need to read it to understand the plot in this one, but you do need the backstory to understand the lead character.
As "The Likeness" opens, Cassie is in Domestic Violence, still reeling from earlier events that she went through in the murder squad. She is drawn into a bizarre undercover operation that runs as much havoc with her psyche as "Woods" did to her former partner, Adam Ryan. Just like the earlier volume, there is very little blood (only one murder apiece), and essentially no violence. (In other words, if you're looking for the fiction equivalent of "Die Hard" look elsewhere) French writes about the difficult subject of human psychology, and she takes her time unfolding the precarious walls we all build up in our minds.
About 2/3 through the book, the pace becomes even slower, and even more careful. In this section, Cassie makes some severely stupid choices. We know the reasons behind those choices, sort of, but still, I found myself saying to the character, "Come on. You know better." Honestly, I was writing my review in my head while listening to this section, "Tana French needs a better editor". Boy, was that initial impression wrong. When the pace suddenly shifts, and everything falls into place, you get what she was trying to do. French has written a very good narrative of how, and why, we all make severely stupid choices.
I now admire the careful crafting of that pace. We all do things that people from the outside of our lives and our histories judge. But French manages to get under the skin. All of the characters, from the arrogant undercover lead, to the sad collection of misfits living in a large old Irish mansion that Cassie infiltrates, are well drawn and fully fleshed out. Once I was through the slow bit, I understood why Cassie did what she did. And even better, I can't say I would have done the same thing. My history is so different; my narrative would have to be different. French is excellent at creating portraits of the complex individuals we see everyday on the street.
Oh, those Irish and their beautiful way with words. Who else could take the dull, mundane world of a Catholic boys school and turn it into such a magical gem. I laughed out loud on a number of occasions - Murray's wit and ability to get under the skin of his characters is amazing. The first 2/3 of the book are so funny, from the Irish rappers auditioning for the Christmas Concert to Dennis' interpretation of "The Road Less Traveled" (he's convinced it's anal sex), to simple banter among young boys, Murray lulls you into a light, humorous world that somehow moves (almost in the blink of an eye) into the much more somber final section. All of it is worth is. All is written as expertly as the reviews said.
The recording is terrific, I'm usually not taken with "cast" recordings, but this one was so well cast, directed and edited, it was a winner. I loved the entire experience.
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