
The Third Policeman
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Narrado por:
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Jim Norton
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De:
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Flann O'Brien
Flann O'Brien's most popular and surrealistic novel concerns an imaginary, hellish village police force and a local murder.
Weird, satirical, and very funny, its popularity has suddenly increased with the mention of the novel in the TV series Lost.
Download the accompanying reference guide.©1967 Flann O'Brien (P)2012 Naxos AudioBooksListeners also enjoyed...




















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"If ever a book was brought to life by a reading, it is this presentation of O'Brien's posthumously published classic. Norton individually crafts voices and personalities for each character in such a way that a listener might imagine an entire cast of voice talent working overtime....[He] ties the ribbon on a perfect presentation of this absurd and chilling masterpiece." ( Publishers Weekly)
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He has a free associative style of writing and sometimes you wonder where you're going and where you've been - but he's funny, very funny.
Rambling and funny
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Well-crafted and a verbal masterpiece.
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But when the narrator reaches under the floorboards, he experiences an "ineffable" fugue, after which he finds that the cash box (which he saw a moment earlier) is actually absent, while Mathers is present and sentient. The narrator has forgotten his name (which he has never revealed) and now embarks on an absurd, disturbing, fantastic adventure, ostensibly to locate the cash box. Cries of amazement regularly escape his lips. He wonders if he "was dreaming or in the grip of some hallucination." Has he entered an Irish Wonderland, Heaven, or Hell? Are the bicycle-obsessed policemen there eccentrics, angels, or devils?
The surreal situations are coherent and logical in a way worthy of Lewis Carroll. Sergeant Pluck, for example, explains that, due to "the Atomic Theory," by which atoms are "as lively as twenty leprechauns doing a jig on top of a tombstone," people who ride bicycles exchange particles with them, leading to this man being 23% bicycle or that bicycle 78% man, and so on. Did you ever notice that bicycles often don't end up right where you left them? (Thus Pluck locks his bicycle in the solitary confinement cell.) Best not to ponder what happens when a man rides a woman's bicycle or vice versa! Then there is the creative second policeman MacCruiskeen who plays a musical instrument whose notes are so high they are inaudible and displays a series of inter-nested chests ending in ones so small they are invisible. As for the crazy, third policeman, Fox, out on patrol for 25 years, the less said the better.
Meanwhile, the beginnings of the 12 chapters of the novel teem with footnotes relating to the theories, experiments, and writings of the narrator's crackpot idol de Selby as they prefigure the coming action of the chapters with topics like water, sleep, time, direction, roads, names, houses, and mirrors. The footnotes also mediate between de Selby commentators, like the two trusted experts, Hatchjaw and Bassett, and the "shadowy" Kraus and the "egregious" du Garbandier, some of whom may be pseudonyms or imposters, all of whom disagree on nearly everything. Isn't academia is prey to rivalries, forgeries, and unworthy subjects of study!
This opposing mirror infinity is a motif in the novel: footnotes inside footnotes, scholars inside scholars, codices inside codices, chests inside chests, rooms inside rooms, bodies inside bodies. . . It is vertiginous.
The narrator is odd. He is both honest and unreliable. We believe what he says, but note much that he leaves unsaid (like just what happened to his leg). After saying early on that he committed his "greatest sin" for de Selby, the narrator seems free from remorse for helping to murder an old man. He is both gullible and canny about "friend" Divney, knowing that the freeloader has been robbing their customers and him but letting himself get talked into killing Mathers for money and then refusing to be separated from Divney until the money has been divided. The narrator is not as bad as Divney, yet he is self-centered, as in his materialistic wants in "Eternity" and his big plans for "his" omnium (the essential divine building block of everything).
All of the above is written by O'Brien with great humor humor, preventing things from getting too bleak, bizarre, or dry. The scenes where Pluck lists a series of names to see if one might be the narrator's, or a rescue company of one-legged men disguise their number, or the news that Hatchjaw was arrested in Europe for impersonating himself, or the explanation for how unerringly Pluck is able to locate a stolen bicycle, or Mathers' reason for saying no to every request, or the narrator's conversations with his soul ("Joe"), all these and many more are very funny.
Another saving grace of the nightmare is the frequently lyrical, pastoral beauty.
"Birds were audible in the secrecy of the bigger trees, changing branches and conversing not tumultuously. In a field by the road a donkey stood quietly, as if he were examining the morning, bit by bit, unhurryingly… as if he understood completely these unexplainable enjoyments of the world."
But O'Brien is also a master of the disturbing detail, as of the police barracks:
"I had never seen with my eyes ever in my life before anything so unnatural and appalling and my gaze faltered about the thing uncomprehendingly as if at least one of the customary dimensions was missing, leaving no meaning to the remainder."
Audiobook reader Jim Norton gives a marvelous reading of the novel. His Irish accent ranges from the slight and educated (the narrator) to the broad and working class (Sergeant Pluck). He's also an uncanny uptight pompous British scholar, a nasal dead old man, and an italics-voiced soul. He reads every word and pause with perfect intention and understanding.
If you'd like a richly written unique book with flavors of Waiting for Godot, Alice's Adventures in Wonderland, the Divine Comedy, and the old Prisoner TV show, you should read The Third Policeman.
A Murderer Adrift in a Dantean Irish Wonderland
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Where does The Third Policeman rank among all the audiobooks you’ve listened to so far?
I have only purchased one other audiobook-Keep the Aspidistra Flying by George Orwell. They are both excellent.Who was your favorite character and why?
The narrator because it is his story, although he is telling it while dead.What about Jim Norton’s performance did you like?
He was perfect.Who was the most memorable character of The Third Policeman and why?
The narrator.Any additional comments?
I have the feeling the people who hated this saw the word policeman in the title and expected one of those books located by the cash register in the supermarket. If you can't enjoy something because it doesn't "make sense" you won't like this. However if you like Samuel Becket or James Joyce you will find this very funny.Not a detective novel.....well sort of.....
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GPTChat
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Absolutely hilarious
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A great performance by the narrator made this a welcome break from your usual go-to audiobook, whatever that may be!
Good Craic
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excellent
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Patience
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You should listen to this audiobook to experience O'Brien's novel, which is surreal, funny, and disturbing. But you should also listen to it for Norton's incredible performance. Both Norton and O'Brien are one-of-a-kind geniuses.
Best-narrated audiobook on Audible.com. Seriously.
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