From Lovecraft? Absolutely. I am a long-time fan. Read by Herriot? Absolutely not.
This is one of Lovecraft's strongest novels, with a mounting sense of dread and perpetual mystery that builds to a masterful climax.
No. I have listened to two of his performances ("The Case of..." and "At the Mountains of Madness") and the man CONSTANTLY mispronounces words (palimpsest, paroxysm, alembic, Adirondacks, Metatron, and many, many more) and then continues to mangle them throughout the reading. What is more, while his voice is not unpleasant, there is no variation in his tone and no emotion. All characters sound the same, and he sounds like he is simply reading the text without being aware of what is being read. It was alternately infuriating and tedious.
As a boy, it inspired me to study antiquities and ancient religious and magical practices in my professional life.
Lovecraft forever! Herriot never!
With less expository rehashings of previously-established material, more focus on description, and a more compelling plot, this might have worked.
No. Campbell's performance was generally unremarkable, but he REPEATEDLY and CONSISTENTLY mispronounced words -- many of them quite simple. It nearly drove me mad.
It helped to further expand upon the Ravenloft setting.
So much wasted potential, it's almost heartbreaking.
I would not. The reader did admirably, but the author's repeated use of racist epithets against Africans (specifically, three of the vilest epithets in the English language) utterly ruined the story for me.
Completely omitting the racist passages and slurs is the only thing that the author could have done to redeem this book for me.
He did an excellent job carrying the different character voices throughout the narrative.
Neil Gaiman seemed inordinately proud of the supposedly full-voiced production. Why, then is this 99% Ellen Kushner reading it? MAYBE 1% is performed by the actors (who aren't terribly good) they advertised, and sometimes even those scenes shift abruptly into Ellen Kushner reading it again, Kushner voicing the same characters they had previously had voiced by actors & actresses; after the mid-way point, even that 1% ceases and it becomes all-Kushner-all-the-time. This was a sham, a case of false advertising, a waste of my time and money. Either have a single person read the whole thing, like most other audiobooks, or have a full cast performing the whole thing. You can't get away with this sort of piss-poor production if you plan to advertise it as something else.
I would have cast either a full cast or just Kushner. Make up your minds, folks.
No. It read like a female version of what women accuse men of writing when we write lesbians -- an adolescent fantasy. It's all fashion and parties and squabbling over status, with action sequences that usually occur off-stage or crawl along at a snail's pace, set in a world in which every man is only one meaningful glance away from hopping into bed with another man. It read like the sort of terrible Harry Potter slash-fics my female friends wrote in high school and college - a girl's fantasy of what men get up to when women aren't around.
I regret buying the sequel at the same time I bought this book. I anticipated loving this, since everyone seems to, and instead I find myself despising it.
Written by Vonnegut? Absolutely not. Read by Ethan Hawke? Absolutely.
Larry Niven & Jerry Pournelle's "The Mote in God's Eye".
Ethan Hawke is a masterful reader. He is capable of differentiating between the various tones, voices & narratives without skipping a beat, and his tone is often conversational or intimate rather than the flat, often-affectless pronouncements given by other readers.
All of them.
This book is tiresome, tedious and convinced of a cleverness and depth which it simply does not possess. Some classics are classics for reasons immediately discernible, some require thought and analysis to reveal the reasons for their place in the canon of literature, but others seem to be classics simply because someone at one point decided to declare them such and subsequent readers, for fear of being mocked for "not getting it", just play along and claim to see the value in the work. This book is one of the latter and is little more than empty literary calories.
Satire. Indictment. Classic.
The revelation of his wife's allegiance.
The part where the fellow-traveler laughs at Young Goodman Brown's hollow protestations.
Basil Rathbone performs this story in a way no modern performer could possibly hope to match. I have never heard a comparable performance of any work and will be re-listening to this over and over again.
This was a light and frothy alternate-universe take on the Jane Austen formula, artfully weaving a single fantasy element into the familiar setting of Regency England.
This audiobook is narrated by the author, and while her reading is actually quite good, her insistence on using a TERRIBLE faux-British accent nearly ruins the whole thing. She is American, as American as apple pie and trillion dollar debt, and her attempt at a British accent is so horrible it's not even laughable. She weaves in and out of it, sometimes reverting to her American voice then afterwards reasserting her faux-British voice with a vengeance, but the fact that we as listeners hear how this book COULD have sounded had she simply narrated it without attempted embellishment -- well, it makes it very hard to focus on the narrative or the characters. They either needed to get her to stick to her American accent or hire a proper British woman to narrate in her stead.
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