I am nine chapters in and I'm stopping now. I only got this far because I was listening while I cleaned out an old filing cabinet. The story itself might turn out to be fine. It does have some unusual features, like the setting and the diving and the fact that the female protagonist was formerly the town slut. But the writing is trite and the author insists on stating the obvious.
As an example, two characters in the search and rescue business are talking and one says to the other something like, "The NTSB -- National Transportation Safety Board -- will be here tomorrow." Okay, maybe you need to clarify the acronym for the reader. But guys who work together don't talk to one another this way. There's a more elegant way to accomplish the same end, but it has eluded this author, time and time again. Painful.
Writing this clichéd has to be hard for a narrator, but this one does the book no favors. In particular, her male voices sound strained.
It's StephenKing. What's not to like? Not "horror" but the bad guy is actually a real horror. Plot is suspenseful. The team of good guys is unlikely and thus original.
The narrator drops his voice, especially when a character is whispering or muttering, which happens often. It's to the point that it's hard to hear. I backed up several times to catch what he said.
Seriously, the author channels Hemingway in several respects. For starters, he never met a compound sentence he didn't like. Maybe this is more obvious listening than it would be reading, but the cadence sounds an awfully lot like For Whom the Bell Tolls. Then there are the inexplicable plot detours. At one point, for example, the boys get on a horse and take a long (at least the description is long) ride whose point is never really clear. Maybe it's just me, but I felt like that often reading Hemingway.
That said, the story itself is kind of nice. The characters are clearly defined and the narrator does a good job of distinguishing them. The nature of a small town and the interactions therein are well handled, but this is not Mayberry by any stretch. The plot line about the pregnant teenager and the elderly bachelors is especially charming.
This was different than the books I usually read/listen to, but I'm glad I did.
I just could not get past the fact that the female lead character was voiced by a male narrator. One without a great range of female intonations, too. The writer explains a little too much, a little too obviously. And the premise is a little thin -- a lawyer with no criminal experience is assigned by her firm to a case of O.J. proportions. Really? I might have pushed past any one of those things, but in combination, they made me quit listening about an hour in.
A friend of mine told me this is a great book, but she didn't like the ending. I decided to be my own judge. And indeed, most of it is a great book, as evidenced by its popularity. The characters are well drawn. Nick is sympathetic but not perfect. Amy is a big surprise. The twists and turns keep your attention. But just when it's clear who we should be rooting for, Flynn seems to run out of gas. The ending is indeed unsatisfying -- it's like she got tired of writing and just stopped.
Yes, because I am a Michael Connelly fan. I've read all his full length novels.
This is essentially a short story. It lacks the depth and complexity one expects from a Harry Bosch tale. It's clearly marked as short by both the listening time and the price, but I guess I just expected a little more. I just never got engaged.
No. There's barely enough story here for 50 minutes of listening, much less a series. A Harry Bosch series, on the other hand . . .
Right up there with the best. The thing is, all the characters are sympathetic, both the good guys and the bad guys. But they are on a path where they can't all get what they want. If you can live with a likeable character not getting the happy ending, it's a good book.
There are several points at which the story takes a turn you don't expect. But I'm not gonna be a spoiler!
I've read several of the Shane Scully novels, but this was my first audiobook. The story translates well to this format. The dedication is significant -- can you catch Stephen Cannell poking fun at himself as Scully checks out the male victim's background?
Shane Scully is his usual rule-breaking, end-justifies-the-means self in this book. The surprise is his new partner, a seemingly lightweight Hollywood type. He's funny in spots and confronts Shane with a different kind of ethical dilemma.
He brings tension/urgency to the narration in just the right parts.
No. Maybe if you were reading the book, it would be easier to keep track of the many characters. But listening to it, especially in short stretches in the car, made it difficult to remember who's who. The plot includes not one but two compounds of religious zealots who become kind of interchangeable.
Maybe. I like the Longmire TV series, so I could perhaps be persuaded to try an audiobook one more time.
Yes. It's a really good story, well narrated.
The way the story line challenges the main character gives the story depth and complexity. He's a prosecutor whose son is accused of murder. The book raises the obvious question of whether Jacob actually committed the crime, along with the competing loyalties of the father/prosecutor if in fact he did. There's also the element of what's going on in the parents' marriage, and the prosecutor's relationship with his own father, and some nature/nuture issues. Very interesting.
He gives a real "voice" to the dad/prosecutor, a little ironic at times.
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