When the word “Handbook” appears in a title, I expect some kind of training or instruction. “Right”, I thought, “here’s my chance to sharpen my tongue, be witty, and get even wittier”. No, my friends, it didn’t happen, and probably ain’t gonna. I thought I was going to learn when to sock it right back, and when to put a sock in it. What works in the world of repartee, and what doesn’t. You know …. It’s a HANDBOOK! (Not!)
It’s a collection of snide and snarky remarks we’ve heard before. Like a book of quotations, mostly by famous people, and most of which we’ve come across elsewhere. It doesn’t even give me a handy list of bumper stickers I could sell to get my money back. If we were to use it, we’d simply be parrots. I was aspiring to be unique!
This attempt at a book is a pathetic rip-off.
A very well written and narrated novel (which almost felt like a true account) of what a family and a community goes through, when this kind of incident occurs.
It draws the reader/listener in fully. I felt as if I were right there, with the family during dinner or breakfast discussions, driving to court, feeling their emotions. Frustration, concern and worry over their uncommunicative youngster became my own. I felt the pain of the murdered boys family, felt the ostracising and blame by the community.
One feels the tension between the mother's willingness to see hard truths yet still love her son, and the father's propensity to cover all in his strong sense of loyalty.
A very worthwhile and interesting read, with a strong psychological component.
What can I say? A beautiful book, beautifully narrated by Michael York.
"Sofeeeyatown"??????? Its pronounced SoFIYA town" with the accent on the FIYA and veld is not like a gentle [s]velte m'dear but FELT! agge nee. fIRE AND fELT, this is Africa!
I love long books, and tend to buy audiobooks which run over 20+ hours. But this is 5 Parts of interminable boredom. I agree with all those reviewers who wrote "tedious". Indeed it is, tedious in the extremest sense.
The first two parts are mostly political. I listened enough to set the scene which should have taken about 5 minutes, not 14 hours.
Part 3 is about Arianne growing up, through childhood and adolescence. I've brought up daughters. Nothing new there.
I don't remember anything noteworthy about the fourth part.
And finally, o joy, it ends after Part 5 and a most unsatisfactory ending it is too.
blah blah blah is the best summing up of this book that i can think of.
I only managed to listen to it as I was at the same time busy with a very tedious and drawn out task. We're busy renovating, packing boxes, cleaning out old crap along with cobwebs and dust, and the book fitted in perfectly. But out it goes along with the other old .............
I know that to apportion blame subsequent to events is a fruitless exercise. Yet this book got me thinking ... and pondering ... and trying to figure - who is to blame? The overly strict and narrow parents, or the teenagers for whom life did not live up to their dreams and expectations. Frustration, futility, and compassion are the order of the day.
The endless battle of generations, of dark and light, of eternal contrasts.
In some ways it reminded me of the play "Equus" by Peter Shaffer. The teenage boys bring an element of sexuality, life and virility into play, as do the girls' passions, while the girls' stagnant environment maintains a status quo of suspended dying. In the same way that in the end death always overcomes life.
The irony - were they all virgins? In body or in mind? In a place as bleak, dark, and unclean as their home. Virginal in life experience?
Readers who enjoy an exercise in psychology and depth would probably appreciate this book. I read it as an intro to Eugenides, as I intend to read Middlesex next, and didn't want to feel disappointed by ''Suicides" as a follow-up.
I gave it three stars because a definite plot would have made the book more interesting.
A well written and interesting court drama, with transparent narration. Themes include racism, testamentary legalities, humility, justice, compensation and forgiveness.
I love the way the story comes full circle, the end meets the beginning, and the loose ends are all neatly tied up. Very satisfactory, especially after staying awake through the night, unable to turn it off!
This is my first Grisham book, and I thoroughly enjoyed it. I cant seem to find the (unabridged) prequel, "A Time to Kill", on Audible but maybe that's only due to where I live. I would've liked to have listened to that as well.
The narration was great. I always enjoy the singsong Indian accents.
The writing was good.
The content was dismal. It seemed to be a tangle of rejects knitted together into a truly atrocious whole.
Now I know this isn’t the politically correct thing to say, or the intelligentsian response, and I don’t care. Like when art critics tell me an abominable piece of work is soooo flapping magnificent. I have eyes as well as good taste. Its damnably ugly. The same holds true for some works of literature.
I thought highly of Rushdie’s Shalimar the Clown, and still intend to read Midnight’s Children, but I remain singularly unimpressed with this offering, despite the very occasional noteworthy, well written idea.
I put off buying this series for a long time although it sounded very interesting, but I don't like YA and wasn't sure about this. Having bought it, I discovered it really is a book for all ages. I felt much heartache for young Ender, and wanted to continue to Book 2.
OSC says he wrote 'Ender' as an incidental book in order to introduce 'Speaker for the Dead'. This next in the series was ok, but doesn't quite have the appeal of the first. I therefore decided to end my listening there, without overdoing the experience.
'Ender' makes me think of many of our school children, of whom so much is expected. Each day's diary is filled choc-a-block with activities intended to enhance achievement levels. There isn't time for kids to be kids any more, which is very sad.
Both the above are entertaining and worthwhile books, which I would recommend. The narrators are excellent.
Herman Wouk plays me like a cheap fiddle in this book. He bends and shapes my emotions, flips and twists and snaps them back, anywhere he wants them. A brilliant author!
By the time the protagonist commits his alleged indiscretion, I would've done it ten times over, and would've stood in the dock afterwards ten times as guilty. I STILL think the end was grossly unfair, but ... ladies and gentlemen ... the law is the law. And Justice wears a blindfold.
I loved every minute of the Caine Mutiny, and I don't easily give 5 Stars. My thoughts and emotions are also not easily manipulated by any old con move, but Wouk is a true artist! :-)
Dietrich Bonhoeffer was heroic. Anyone who is prepared to live and die for what s/he believes in is a hero in my book, whether that be Dietrich Bonhoeffer or Che Guevarra. DB was probably also a saint.
This book was not what I expected. Somehow I thought it was more about providing practical assistance to people, helping them escape, survive, and so on. Similar maybe to Schindler's List. Instead, DB tried to exert his influence on higher levels of the political and religious hierarchies, which is not surprising considering his aristocratic background and connections. Sadly, despite all his efforts, he managed to achieve very little.
I'm grateful for new awareness about a man I'd never heard of, and for the publicity that not all Germans were Nazis, when in fact many were definitely not! I'm in agreement with many of the praises which have all been sung by previous reviewers, and I don't regret the hours invested in this book at all. That being said, I also found that it contained excessive particulars about theology, church history, religiosity, and a plethora of minor details which I didn't need to know. I guess it depends on the in-depth intensity of a reader's interest. Overall, it was perhaps less of a general interest bio, and intended more for historians with an interest in church doctrine.
Narration was good, with the German pronunciation fractionally better than most others I've heard. It always amazes me that no bilingual English//German speaking narrator can be found for a book which is so fundamentally German in character. Its like having Michael York's fabulous voice massacre a beautiful South African classic 'Cry the Beloved Country' with pronunciation which inflicts full-body cringes.
This was my first book by Deon Meyer. I bought it because he’s a South African author and I like to support local talent.
I expected the worst, mainly because of the sample: … he went to the toilet, lifted the lid, aimed, and peed. Really? Did that achieve the first 4 steps of the 13, I wondered. Is there any part of this procedure you forgot to mention, Mr Meyer? Then, to bring a decidedly low-class flavour into our hero’s morning, he bursts out with “Jissus!” in every other sentence. Maybe they speak that way in the Cape, but not Pretoria cops, I’m quite sure (tic).
Then, quite suddenly, Meyer starts leaving the low-life stuff to the criminals (there are enough of those to carry the brunt) and it starts getting better. And better. Till in the end it’s a damn good South African detective novel. Our two heroes are Bennie Griessel and Vusi Ngubane. (The character of Bennie reminds me of well known South African detective Piet Byleveld, who made every killer grow a shade whiter when he took the case.) There’s enough complexity in the plot to keep the reader’s interest, and all the knots are neatly unravelled in the end.
Mr Meyer redeems himself as an author whose books I will most likely buy again, provided Saul Reichlin narrates. What a narrator! I would guess that he grew up in South Africa, as the Afrikaans accent is too genuine for anything else. This, too, was a lovely surprise.
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