Award-winning author, narrator, and screenwriter Neil Gaiman personally selected this book, and, using the tools of the Audiobook Creation Exchange (ACX), cast the narrator and produced this work for his audiobook label, Neil Gaiman Presents.
A few words from Neil on The Land of Laughs: "I chose The Land of Laughs for Neil Gaiman Presents because I love Jonathan Carroll’s books and want to bring them to as wide an audience as possible. I suspected the character of Thomas Abbey would be both a challenge and an opportunity for the right narrator. Edoardo Ballerini conveys a certain wistfulness and vulnerability underneath Abbey’s grumpiness."
Thomas Abbey is a man stuck in a rut. An English teacher in a small Connecticut prep school, Abbey is in a crisis. His career is unfulfilling, he has no social or love life to speak of, and he cannot break out of the shadow of his famous father, the actor Stephen Abbey. To kick-start his life, he takes a sabbatical to work on a biography of his favorite writer, Marshall France. France's books were the only thing that kept Abbey sane during his childhood, and though he was renowned for his lyrical and imaginative children's books, nearly nothing was known about the writer's life.
Although Abbey has been warned that France's daughter, Anna, has blocked all previous attempts at her father's biography, he and Saxony Garder - an intense woman also obsessed with France's life - head to Galen, Missouri, with high hopes of breaking down Anna's resistance. They are surprised to find Anna the soul of small-town hospitality and quite excited about Abbey's proposal - even eager to get the project finished as soon as possible.
Even stranger than Anna's behavior is the town of Galen itself. On the surface, all is as a small Midwestern town should be. But the people of the town seem to know what their future holds - freak accidents and all - down to the hour and are as eager for Abbey to finish the biography as Anna is.
To hear more from Neil Gaiman on The Land of Laughs, click here, or listen to the introduction at the beginning of the book itself.
©1980 Jonathan Carroll (P)2011 Richard Parks
"Edoardo Ballerini perfectly captures the hesitant and faltering Thomas Abbey, a schoolteacher who wants to write the biography of his favorite children’s author, the mysterious Marshall France. Thomas’s story starts out realistically enough, but when he and his girlfriend take a research trip to France’s hometown in Missouri, things begin to veer into the bizarre. Ballerini makes the listener sympathize with Thomas, even as he begins an affair with France’s daughter, Anna, a woman obsessed with her dead father. Ballerini’s command of Thomas’s character and his spot-on voices for the secondary characters ground the story as it becomes more fantastical and the listener learns that either things aren’t what they seem or Thomas is not entirely sane. An unsettling examination of obsession." (AudioFile)
63 y/o psychologist with two sons, living in SF Bay Area. I absolutely love all the feedback I've been getting for my reviews. It's very gratifying. Thanks to all of you.
This book begins well enough. It is the story of a teacher and writer named Thomas Abbey and his girlfriend Saxony. Tom takes a sabbatical year in which he decides to write a biography of his favorite author, a man named Marshall France. For the first half or so, the book is a well-written story, narrated by the always wonderful Edoardo Ballerini, which makes it a delightful experience just for that. However...(isn't there always a however?)... our heroes drive to the town of Galen, Missouri, and this is where the story escalates into a fable of delusional proportions. If you knew that this was going to be some variety of science fictionish work, that would be one thing. But, not having known that, the book becomes pretty preposterous. I can't help revealing the spoiler here, as it takes up almost half the book, and is, I suppose, the grand idea of Mr. Carroll's. The conceit here is that Marshall France has written a magnum opus in which he has created the entire town: all the people who live in it, precisely what they do, when they die, etc. He (France) also has the superpowers available to himself that he can make people die at his whim, or turn into dogs, etc. At first Tom and Saxony do not believe the tale, but they are fiercely sold on it by Anna, the author's daughter. Soon Tom is sleeping with Anna as well as Saxony. Since science fiction requires us to suspend our usual assumptions about life, the only way to enjoy this experience, I think, is to just not try to think too carefully about the entire conceit, as it will fall down like a house of cards on the briefest examination. France becomes a version of God. He apparently has written so voluminously into the past and the future of Galen that ordinary mortals would have taken lifetimes to do this alone, not to speak of writing work that will be marketed and sold to the public. (France's writing about Galen is a Big Secret.) Some of it has a Wizard of Oz quality: children might be mystified, but the outfits are made of cardboard, and pay no attention to that man...
I love Edoardo Ballerini as I love no other narrator. He does the absolute maximum with this material that he can. However, nothing can protect Tom from being the wimpy, passive academic that he is. He bounces from Saxony to Anna, begging each of them to make the decisions in his life that he is too paralyzed by OCD (obsessive compulsive disorder) to make. By the end, you really are considering the possibility that it all really WAS a dream, a thing which worked in literature about 100 years ago.
I would only cautiously recommend this book, primarily for fellow lovers of Ballerini. His skills are so marvelous that they can elevate a lot of writing way above where it actually "deserves" to be. What a guy.
I got half way through this book and was so. intrigued. Here we had this utterly delectable little novel with a great premise, wonderful characters, and an completely unique perspective, and by the time I got right smack dab in the middle of it I was tearing my hair out trying to figure out what diabolical mystery it could all be building up to. And then I found out and all I could think was "oh, is that all? well I can tell where this is headed".
And the book rolled on. And it ended just like I thought it would (I really loved the closing lines though) which afforded me the opportunity to nod sagely to myself while listening to my ipod between classes and ruminate on the inadvisability of trying to predict plot twists. For a long time after I sat and mulled over why I thought it was that I didn't enjoy the latter half of this book as much as the former. I think its because I've just read, if at all possible, too much fantasy. If you know your tropes you can spot this one from a mile away.
But I still liked everything else about it. And obviously I am in the minority in my opinion about not being so hot on it. I don't mean to seem self congratulatory for having figured it out, that's not my intention. I was just hoping for something different. That being said I do not consider this to have been a waste of a credit - I still enjoyed the story, I'm still utterly fascinated by the characters and Ballerini did a fantastic job in bringing it all to life. Quibbles aside, I still recommend it.
In the end I think this book did what it was supposed to do - it introduced me to an author I never would have heard about otherwise, and it made me want to listen to his other works (I've added everything else he offers through Neil Gaiman Presents to my wish list). While this might not have been a strong entry into his cannon for me personally, I can tell he's someone whose work will appeal to me and I look foreword to listening to more first chance I get.
This is a tale with great ideas, and reasonably well-written, but lacks pace. Most of the characters are not particularly likeable, and the performance is average; little more. I feel that it would have been better off as a short story.
I got this because I was looking for horror. Turns out it's really more interested in exploring what happens when you live for your art rather than living for actual life.
Fans of metaphor and hyperbole will love this book. See, the way Jonathan Carroll rolls is to describe things using biting quips that echo what pops into our heads day-to-day -- for example, your lover doesn't "cling so tightly to you that you have to peel yourself away in the morning"; instead, she "scotch-tapes herself to you".
As for the narrator, Ballerini does a great job with the male leads but it gets hard to tell the voices of the main female leads apart.
This is the third Neil Gaiman-recommended book I've listened to recently (Light and Pavane are the others) -- and it will probably be the last. I haven't really found any of them inspiring in the audiobook format. This one has a pretty good premise, but the story seems to get sidetracked with unnecessary stuff, and the ending was anticlimactic.
I read speculative fiction, YA, mysteries, entertaining nonfiction, & occasionally, heavier literature. I want it well written & literate.
The reviewing format that audio has set up can be helpful, but in this case makes it difficult to say what I liked and disliked without "spoiling" this book. Because as with the other Jonathan Carroll book I read, "White Apples" I loved the book with reservations. What I loved was the amazing imagination at work here. My favorite sort of speculative fiction is a book that changes one thing about life as we know it, and plays with that concept. This book does that splendidly. I was enthralled. Which was a good thing, because as with "White Apples", I found the egocentric main character and very hard to empathize with. He treats the female characters as useful tools to be used and disgarded, with no real human attachment. Despite this,I would still recommend this book. It was a fascinating read.
This is just not a very engaging story line. I don't get why Neil Gaiman, who i really like, is so enamored with this story. It just isn't that interesting. Got about halfway through and stopped listening to it as it started to become a chore.
The story is simply not that interesting.
yes, he was good.
It's not the worst book I've ever listened to, but it just didn't keep me interested.
I am not sure what the hell it is that I just read exactly, but oddly enough I liked it. It was well written and the narration was not bad. It reads more like standard fiction than sci-fi until near the end of the book when you suddenly get slapped in the face. The story revolves around relationships and the quirkiness of small town life meshed with a rather unexpected, zany secret. I strongly suggest not going into this book with any expectations in your head as to what it's supposed to be or you will be disappointed. If you can manage to wrap your head around that idea early on, then you may find yourself enjoying it as I had.
Shorten it by half! Make at least one of the characters likeable.
Pruning. It went on and on even when it was obvious where the whole thing was headed something like having one's head beaten against a brick wall. The central idea was good but was hideously overworked until it died of sheer exhaustion.
He made a great job of some very tedious material, no complaints there.
What is it about American writers which makes them feel they have to bludgeon their readers senseless in order to get their message accross? Is the American reading public slow or something?I bought this book mainly on the recommendation of Neil Gaiman, for whom I have great respect, but I will be looking at his opinions on other writers much more critically in future. What were you thinking Neil?
An usual book. It's a page turner and yet you really don't know where the plot is taking you. The characters are original and richly developed. Both enjoyable and intelligent.
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