The Last Coyote is a brilliant mystery with many twists and turns, but as weird as it was, I never found myself saying "Oh, come on." Connelly makes you want to believe the story and keeps you rooting for his hero, Harry Bosch, even as the whole world around Bosch is ready to turn its back. The reader has an incredible range of voices that also do not sound forced or exaggerated. It kept me on my iPod for hours after I was done with my day's driving.
Bosch is the center of the story, of course. But the supporting cast is full of interesting "cameos."
Dick Hill has an extraordinarily versatile voice. I have listened to his other Connelly interpretations and think he hands in consistently strong performances. I have to admit, it was listening to the Bosch stories, rather then reading them, that made me realize what a good ear for dialogue the author has. Credit goes to Mr. Hill for this.
One troubled loner after another.
If you are not sure whether to get into the 18 or 19 Harry Bosch books, this is a good one to start with. Listen to Last Coyote and Trunk Music, then start at the first book, Black Echo.
I would certainly listen to anything Zara Ramm narrates. I think she is wonderful. If Jodi Taylor tried a straight mystery, I would listen to it. But for me, the fantasy genre needs to be handled lightly, or it kills my willingness to suspend disbelief. This novel takes itself a bit too seriously for a time travel fantasy about a society of zany British dons who defend the world from catastrophe in the form of sociopathic British dons.The serious tone of this featherlight concept provoked my internal naysayer I was too busy mentally poking holes in the plot to give myself over to it. I could not grant Taylor the space she needed to develop her plot and I found myself saying "No, no, no" to my car stereo. So, my bad, but not my cup of tea.
It didn't make sense. In a time travel novel, the timeline has to be traceable so that, when all the secrets are revealed, you can go back and see how the people who got fooled were tricked, and how the people doing the fooling managed to get ahead of their dupes. Listen to a Jasper Fforde Thursday Next novel to see how this can be done right. This did not happen for me in Just One Damned Thing After Another.
Zara Ramm did a good job making the main character charming, As usual with Audible narrators, I was blown away by how easily she changes sexes. Ms. Ramm can do dialogue on behalf of a female character, and one breath later summon up a male voice so instantly recognizable as that character that my subconscious accepts without noticing. I wonder how these narrators do it. I like the richness of Ms. Ramm's voice, too.
Sorry, only just. I was down to my last audiobook while taking a tedious road trip, but I needed some breaks, here and there, to listen to the voices in my head because they were slightly more amusing. I never skip through books, but I came close here.
If it's not going to bother you that you have to take seriously the idea of time-traveling British dons and their predators, you likely will enjoy this book. I'm just a grouch and I prefer mystery to fantasy.
Yes. Connelly doesn't write bad books. He has clearly spent the time to imagine his characters and their world in detail. Mickey Haller is a charming rogue and as consistent as Bass Ale.
Mickey Haller, because he is the main character. Sheesh.
Giles does a great job with the voices and accents, making each character pop. It is so easy to slip into seeing a room full of people talking, because he can change voices in a breath. A gifted narrator makes the book more fun to listen to than to read, and Giles is gifted.
"Just When You Thought It Was Safe to Go Back into the Courtroom"
This is just a fun read. I love Connelly's primary characters, but I wish he would give Rachel Walling a book of her own.
If you listened to/read The Last Policeman and Countdown City, and enjoyed them, you will be glad to read the last part of the trilogy. it is a satisfying resolution of the threads that Ben Winters spun in the first two instalments.
But as a stand-alone book, it is pale. The story draws down on the goodwill that the first two novels established. The charming quixotic-ism of those stories becomes a bit strained here. Henry Palace gets just a bit too weird, unless you have already come to love him.
The last one, which I will not spoil by describing.
As the great mystery begins to be resolved and Henry's quest draws to an end, it actually pulls you into his world, which is about to end. It is a sad book.
The narrator, Peter Berkrot, departs from the verbal style he used in Last Policeman and Countdown City, and ruffles Henry Palace's easy calm. This Palace is hectic and talky, the annoying monologger sitting behind you on the Greyhound bus. I think it was appropriate to the change in mood of the story, but it was a bit wearing. I am giving full marks for the performance because I think it was a good artistic choice for a book that is, let's be frank, a bit hard to take.
The performance adds a lot to the text. The narrator, George Guidall, brings a lot of life to the story and his characters change so rapidly it is hard not to imagine a room full of people interacting.
There's a little bit of Hillerman's Leaphorn in the focus on locale (Bighorn Mountains instead of Navajo Nation) and a little of Charles Todd's Ian Rutledge in the main character's anomie. But The Cold Dish mostly reminded me of Henning Mankell's Return of the Dancing Master, because of its themes of dislocation and culture clash set within a plot where a small community's population is killed off by an unknown malefactor.
When the protagonist, Walt Longmire, and his best friend Henry Standing Bear, visit the Cheyenne reservation and meet Henry's family and friends. It brings the book into focus and calls the status of the "victims" into question. Unusually thoughtful for a genre novel.
I listened to about fourteen hours of it on a snowy drive from Farmington, New Mexico to Alamagordo and back. So, yes.
I am so glad to have found this series. In many long hours of travel I have worked my way through all of Chee and Leaphorn, Martin Beck. Kurt Wallander, Harry Hole, The Peculiar Crimes Unit, Harry Bosch (and Michael Connelly's other creatures), Collins & Burke, and Thursday Next. I was afraid I had worn the genre out.
The plot is at once straightforward and very tricky. It was easy to keep track of what was going on, even as I drove or gardened, but the ending took me completely by surprise (in a good way). Completely unpredictable, to me, but also completely consistent with the story told.
The elder Mr. Burke, Brennan's father, is a complicated character, like Fr. Brennan himself. I knew a crusty old I.R.A. sympathizer in Boston in the 1980s, a complicated man of high moral standards - standards that he had regularly violated in God's name, if you believed his stories. The elder Burke is very much like him, and I found his internal contradictions completely convincing.
Mr. Rummel has a dab touch at voices and accents, to the point I stopped listening to him as a single voice and recognized the characters without thinking "Who is he doing now?" It was impressive that he could voice Bridget, half-seriously coming on to Monty Collins and immediately switch to Monty playing along, without making me twitch. So, maybe Bridey was my favorite character.
No, I liked picking it up in pieces over the course of a few days.
This is a charming series, and for anyone from the East Coast who grew up Irish Catholic, it's a taste of home.
The narrator's voice breathed life into a bunch of somewhat flat characters. She gave them such emotional range and personality that they were interesting.
No. I did not realize that the genre of this book is erotic crime fiction Everyone was so aroused by so many of the other characters that I felt it detracted from the main plot. The plot was not all that densely woven and the big reveal at the end felt forced. It was hard to suspend disbelief.
Munroe went beyond the text to give the characters more depth than the author did. She must be a gifted actress. There's a lot of dialogue in this book, and Munroe made it feel like you were listening to a radio play.
An erotic thriller with all the traditional roles and body parts.
The plot was well thought out and gripping. It kept me listening until 2:00 am to find out whodunnit.
I enjoy Dick Francis because all of his characters have a backstory and motivation, even the villains. This was similar. Anne Emery wants you to understand why the crimes happened, and I found the motivations credible and even moving.
Fr. Burke. Rummel has a great range and does children and women well, too. But the slight Irish accent and clipped intonation he gave Burke were perfect for the character.
The revelation of who the killer was and why did bring tears to my eyes. I bought it; it did not seem forced or manipulative.
The story is entertaining, but not very sophisticated. Pople have the stock reactions of so many fantasy novels: They receive bad news by getting angry at the messenger; they spend pages telling each other there's no time to waste; and men need to be violent to each other to maintain their self respect. An editor could have helped.
There are fun moments, as when a character comes to meet an alien race and dubs their repreentatives "Uncle" and "Aunty."
I seriously checked to see if the narration was some sort of AI experiment. The cadence and emphasis is not quite human. "She ran her hands over her face" is renderedd "She ran, her hands over her face." And thousand of more odd line readings. Voices and accents are okay. It was in the paragrpahs of that the odd, inhuman rhythm sometimes became distracting.
I am blown away by this book. This is the third "Dublin Murder Squad" novel. The first, In The Woods, is an intense and wild ride. The next, The Likeness, is sort of difficult to take but well-built and intriguing, This one is the payoff. It may be the best audiobook I have ever listened to.
The way the plot unfolds is like taking a walk and rounding the corner to show you a new panorama. You forget it's a book. I have a hard time picking just one of these moments.
The narrator is a talented actor and his line reading is perfect. Every character has such a distinct sound you don't need to wait for the author to identity him or her. This is one of those books that pulls you in so completely that you can't do much else while listening.
Peter Berkrot's acting skills add more to this book than the print version can deliver. I don't "hear" characters' voices when I read. Berkrot gives everyone a distinctive voice, and reads brilliantly. Absolutely perfect. I was completely captivated.
This reminded me a little of "Land of Laughs," where there is a very straight narrative going on that's just a little tongue-in-cheek. "The Last Policeman" has a nice, light touch and is lots of fun to listen to. Ben Winters has avoided the irritating aspects of the police genre, while having fun with many of the conventions - In some respects, this reminded me of Ed McBain, only set in Concord, NH, as the world starts to end. In other respects, it reminded me of "Hitchhiker's Guide to the Galaxy."
It was a minor scene, but when Detective Henry Palace sends a message to his old girlfriend via the barrista at a pirate Starbucks, that was classic. You'll see why when you hear it.
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