This audiobook by Erica Adams features an original musical score by Marisa Anderson.
The Mutation of Fortune documents the parallel fortunes of one protagonist living multiple lives. As she navigates her Märchen landscape, she goes through varied transformations, becoming at times a wolf, a thief, an amputee, a hunter, a rabbit, and a runaway. She sleeps with swans and suffers a sister that bites the back of her knees. The world of this book is unstable, delicious, and carries with it an inexplicit sense of danger. Marisa Anderson's captivating avant-Americana score sets the perfect tempo and ambience for this eerie journey. Read by Natalie Rinn with perfect Midwestern diction, this novella becomes a total experience not unlike those strange fictitious ramblings of Rudolph Wurlitzer.
A collection of vivid surreal stories that capture your imagination to believe in the fantastical.
This work is fun, dark, heady, touching, lulling, magical, playful, intense and highly recommended.
Would you consider the audio edition of The Mutation of Fortune to be better than the print version?
I hadn't read the print version but I think the audio edition is a great form for this work. These stories were made to be read aloud. Tales told over fires on the frontier, some to frighten, some to teach a lesson and some to just leave you thinking. And these vignettes are grouped and separated by a beautiful soundtrack by Marisa Anderson, which allows the listener to come out of the trance of story telling temporarily.
What did you like best about this story?
The Mutation of Fortune's best quality was its dark surrealism. With each story the macabre was handled with a delicate mundanity that was both unsettling and fantastic. Like Murakami or The Brothers Grimm, these stories walked the tight rope between fantasy and reality and in that they rose from short stories to modern fables. I also appreciate that each story flows smoothly from one to the next, never needing to reset the stage.
What does Natalie Rinn bring to the story that you wouldn’t experience if you just read the book?
Natalie Rinn's steady oral pacing was both captivating and soothing. Her tone and delivery defined the attitude of our stories' protagonist. They were of one voice and managed to simultaneously sound as if it were told by the young girl or an older version looking into the past like a pensieve.
Any additional comments?
Marisa Anderson's roaming folk guitar was the perfect segue and breather between grouped stories, alotting for time to wander through that interwoven narratives and try to hold onto the moments as they pass.