Absolutely. Bloody. Marvellous.
Too many to single out. There were several moments that I considered "Aha-Erlebnisse", as experienced through Prof Greenberg's insights, naturally.
Jes' hisself, of course. The more you listen, the more you appreciate his humour and presentation.He has a genius for offering great insights against a background of light-hearted banter. And his enthusiasm is irresistible.
I've been a lover of "classical" music and opera all my life, but have had no formal training in music. Can't even read a damn note. In spite of this shortcoming, and regrettably unable to grasp some of the more subtle technical points, I've been able to follow the lectures in broad flow with pure pleasure. Many of his comments are "stunners", and I'm not joking. Just a single example: He remarks, after a glorious explanation of the passacaglia form as used by Bach, that the passacaglia can be regarded as a “metaphor for the invisible hand of God controlling the rich chaos of the everyday”. This just took my breath away (and not that I'm a believer). Old, and feeling depressed? Get this. Even better if you're young and your mind is still fresh.
"The Magus" is something in itself. I think Fowles used to express his admiration for "Le Grand Meaulnes", which I read decades ago and can't remember (oi). Have bought the Audible version, though, and still need to listen to it. Perhaps a reading of Fowles's "The Aristos" (his second book, published two years before "The Magus"), might not be a bad idea in preparation for "Magus".
Not yet, but looking at his other readings. Incidentally, he is particularly good at reading female voices. In some other audiobooks (e.g. two versions of "The Alexandria Quartet") the male readers would have done better in keeping to a more normal pitch.
There are several brilliant moments and parts, but the scene in which Conchis hypnotises Nicholas was particularly masterfully done. Boulton's reading makes one aware of something magical, "metaphysical", totally illusory, and irresistible. Perhaps fatal, too. The reading achieves what the printed word can't do quite as well: mesmerise the listener.
Boulton's reading made me aware of many things that I missed in my own readings of "The Magus". For me, his reading made this book shimmer all the more.
A translation that begins with a word summing up the entire "Iliad" promises much, and it doesn't fail this promise. I am so happy that this version has been made available – in the same class as Richmond Lattimore's translation,
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