This was in all reality, absolutely nothing to do with Aliens. It is, at heart, a teen romance. Nowt wrong with that. I bought the Kindle version of it as well, and that is just fine and dandy.
The audible version, however, leaves quite a bit to be desired. For me, the narrator was too loud, relentless and LOUD. This doesn't mean in DB, I'm sure the producers got the levels correct, but the racket of the voice was so loud I was unable to concentrate on the material. There's no space between the sentences, no room for a breath. Very tiring on the ear. Pity that more care was not taken.
We read, "Performed," and, "Directed," and, "Produced," when if I were anywhere near this production I would have instructed the narrator to knock the volume and pressure back a TON on hearing the first paragraph. The producer was surely asleep at the wheel during this.
I'm sorry to be so hard on a narrator. I dislike to be so critical, but Madeleine Lambert needs to read this. Poor narration can ruin even a really good book, and there is plenty of competition out there.
I have become a little disenchanted with, "The Lost Fleet" and hooked on to this strand of space opera only because of the wonderful front cover. I assume this to be the excellent butt-kicking female flawed character Colonel Morgan. Anyway, it's a great and arresting cover. I dived in and the convoluted and mixed up relationship between Gwen Iceni and Artur Drakon is a tense and first class will they-won't they duo. I love the forward and back. The side characters, Morgan and the new Sub Executive are all to be enjoyed. Marc Vietor is a very fine reader and does another super job on this. I really enjoyed it. More please:)
This book is a perfectly adequate read in the Kindle edition, reading the text. I'm afraid the audio is less acceptable. Claire, read by Amy McFadden-who is perfectly capable of excellent work elsewhere, seems bored with the text and I just don't know how Audible could have released a narration so awful. We often hear that this performance was produced and edited by some character or other, surely someone should have grasped the nettle at page 2 on this and said, "sorry, this simply will not do!".
The writing, at the beginning is a little confusing, but once you get ahold of the characters, it's an okay story, but the audio edition, save your credits and sanity.
Maybe it is me-maybe it is Cook. I don't know. I really used to enjoy his work. The last two, not so much. This looked like a real slam-dunk, materiel I am interested in and have some serious concerns about.
I was so bored I fell asleep and lost the thread a whole lot. I had to keep going back. Maybe this type of novel just doesn't interest me any longer. I'm usually fully engaged and my last audiobook was the full set of Robert. A Caro's biography of LBJ. I raced through that, riveted to every single one of the 4,000 pages, over sixty hours in Audible.
Cell is a snore-fest, and I can't really pick out why. The narrator was his usual excellent self, George Guidall is no dope. It's just the material was staler than week old white bread.
As I said, maybe it's me. See what the other reviewers say before you spend yer credit.
I didn't like it one bit.
The Killer by Tom Hinshelwood/Tom Wood
THIS REVIEW CONTAINS A SPOILER
I saw this on the front page of Audible one day, and for some unknown reason, I have a bit of a thing for assassin books. I don’t really know why, perhaps because of the left over sadness of years of investigating crime while a UK copper. Perhaps reading histories of the middle and far east whence the lore of hashashin and ninja began.
It’s the motivation for killing which always escapes me. Yeah, I get that you can get mad enough for revenge or anger purposes to put out someone’s lights. In self-defence, no question, him or me. Killing for money or ideological purpose? Dunno, less clear cut. I’m also pretty certain that it’s a difficult profession, rife with very high risk and there are many fewer hit-folk around than popular fiction would have us believe, thanks be.
The Killer, Tom Wood’s first novel comes highly recommended by its reviewers on Amazon and Audible. Well written and performed.
There is quite a lot of Gun-porn, the naming and delineation of qualities of various armaments is mentioned, if not labored over. Fair enough, they are the tools of those who work around guns.
The writing is good, and the plot and narrative works well for the first half of the book. Character development proceeds apace, although we are not told a single thing about the assassin’s background.
At about 2/3rds of the way in, a, “Hemingway Death,” occurs, which totally throws off the narrative and the plot. Up to this point, the twin fulcrum of the narrative was the softening of the assassin and a growing bond between him and another. A very humanizing and sweet element.
The writer, by this death is painted into a corner and any mystery that the book might have had is removed and the reader now knows that we are to be left with a cataclysmic hung-up ending, which will leave us breathless for the next episode in what will be a three part series.
There’s no question. For an assassin like this, you’ve either got to kill him, or turn his actions into reasonable ones. Otherwise he is utterly without remorse or morals, and writing THAT character is too anti-sympathetic, it won’t carry a book. Who wants to read a tale of endless murders for money? No, people don’t. There has to be a spec of humanity there, and in this book, the writer killed it with the, “Hemingway Death.”
While I found the book readable and good work up to that point, afterwards it became mundane and the series of men chopping and fighting in Africa were boring and formulaic, the conclusion over-wrought to ridiculousness. Faugh. The direction was wrong, and the second half of the book could have done with some serious editing. There were longeurs.
Up to 2/3rds of the way through, the book is compelling, vital and interesting. Afterwards, merely serviceable, somewhat boring fare you can read anywhere. For a writer with this talent, a poor outcome.
Writers, STOP killing your darlings for shock and plot movement! We readers invest in those characters, kill them at peril of losing our interest.
I note that some reviewers did not like the narrator, (for a lack of accents?) Astonishing. This was perfectly read. A gentle caress to the ear. Letting the story do the work, beautiful timbre, and every word delivered with clarity. A masterful definition of the art of narration. Laurel Lefkow, thank you, wonderful work.
The novel, well, it does wander a bit. It addresses questions of science, some of the theories of which were at the point of writing, the shores of the unknown. Putting those questions of existence up against love and faith, an interesting and confusing basket.
I really liked it, but I admit, 60% of that was because of the beauty of Lefkow's voice. She could read the telephone directory for me.
This is supposed to be for young adults. All I can tell you is that after a lifetime of dealing with the muck, blood, pus and goo of society, I don't need my nightmares added to by a book supposedly for young teenagers. I understand that some folks are just fine with gore, and I don't mind it quite so much in the flesh. Perhaps the pictures are more vivid on audio.
The first third of this book contains a LOT of egregious and disgusting gore. Be warned.
I was first drawn to the book by the subject matter. Apocalypse via EMP is always interesting. The cause, reasoning and final outcome of the EMP is left without exposition. The gore and violence lingered on lovingly.
I missed, don't ask me how, that there were Zombies in this, and sorry, but I am sick to the back teeth of Zombies and Vampires. Authors, GET OFF THE TREADMILL and write something else. Readers, buy something else, or the writers will continue!
Whole lot of reviews mention Katherine Kellgren's excitable and perhaps shouty delivery. I prefer audiobooks where the reader is completely invisible. Kellgren is no dope and has done plenty of work with Audible. As an amateur reader, I know that she read the book and made a choice to pump up the volume and allow the voice to add drama to the text.
Some listeners like that form of delivery. I'm not sure it works with YA, which is already drenched with pace. I'm not about to knock it, because I know how hard it can be to get this kind of thing just right for everyone. It didn't work for me, the voice was shrill at times and I could have done without that. Bottom line, the story wasn't good enough to support the reading.
The book, too violent for me. Too much wandering about while it told its story. The opening was fresh and very interesting, by the end I was frustrated with all the jumping about, re-threading, and the cliff hanging waiting to be hung. Not so great story telling of a great idea.
Will I read the following instalments? Dunno, unlikely.
This was a really interesting premise. What would happen as society unbundles during an inevitable, visible and completely relentless apocalypse.
There are a lot of pre and post-apocalypse stories running around. Few are credible, whereas this scenario is only too frighteningly real. We get hit by objects from space all the time, most are small and do little damage. We don't spend much money researching them or how to deal with 'em if they do home in.
The murder mystery was yer standard fare. I didn't find that more than mildly diverting. The characters were fairly cookie cutter, good guy, bad guy, girl. What was interesting was the way the society itself wobbled. Cell phones not working, bucket listers, and how the brave, insane and merely resigned attempted to deal with the big rock arrival.
Beautiful read by Peter Berkrot.
This was a strange tale. It started out a bit of a feminist rant, which was going to get boring even if true. I don't come to Audible to be morally improved, but entertained. It failed almost utterly to entertain me, apart from the final encounter, which was diverting for a few moments.
The rest is pretty sordid, as references to prostitution, "the life," tend to be. It is a nasty, brutal, usually short life. Men are pigs, yes they are.
The book was factually incorrect in that it plays out that there is a lot of money to be made in prostitution. There is, but nowhere near the figures that Heloise seems able to extract from it. The working girls almost _never_ earn what they work.
Weirdly enough, hearing Linda Emond's wonderful narration use the few cuss words within the text rather sounded like effluvium in a cathedral. Even Emond's talent could not bring the tale to life for me.
While I agree with the conclusions that Lippman makes overall in the book, and her post book notes, the book wasn't worth the time it took to listen to it.
I know some will be disappointed in that review, especially Lippman fans, but it was a 2, no more.
Who would have thought that this 62 year old geezah could enjoy YA novels? Turns out, I do. I ripped right through The Hunger Games and bought this one on a whim and the numerous good reviews.
The narrator just about took my breath away, what a wonderful talent. I don't know how old the reader is, but she sure sounds to my addled old head like a teenager ought.
There are sections in the second half, where the two lovers are recognizing the pace and power of their passion and melted me right away. Never heard Browning or Cummings quite like that, beautiful.
The pace tears along a bout de souffle.
I purchased the second part of what I believe to be a trilogy immediately upon finishing the first.
A cracking read, and a wonderful narrator.
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