dog eared copy

When She Woke

2012-01-26T00:01:00.000-08:00

When She Woke
by Hillary Jordan
narrated by Heather Corrigan
Ⓟ 2011, HighBridge Audio
10.80 hours

Set in the not-to-distant future and in a society that has sought to redress its issues with religious fundamentalism, When She Woke features Hannah Payne, a young woman convicted of aborting her unborn child. She is sentenced to sixteen years living as a red Chrome, meaning that she has been injected with a virus that turns her skin blood red. Its plot line is very similar to that of The Scarlet Letter (by Nathaniel Hawthorne) and might be considered a homage to the Classic and/or a re-imagining of the tale from the woman's (Hester Prynne as Hannah Payne) point of view.

Hillary Jordan has taken care to cast her characters in a realistic and human way. Hannah Payne expresses her doubts, angers, insecurities and new convictions in way that is believable. The reader may not find her logic unassailable; but her actions and new awareness bear the pedigree of experience. Aiden Dale, as the modern iteration of Hawthorne's Arthur Dimmesdale, is a morally complex man drawn with true pathos and much less of a villain for his cowardice than the original. Jordan has fleshed out the emotional landscape of this story without excessive melodrama and provided a way to connect with the Classic. That is not to say that the story doesn't stand well on its own, because it does. Without having read The Scarlet Letter, a reader would be interested in the characters' psychological development and perhaps question his or her own convictions as they travel with Hannah on her literal and interior journey:

"Was that all her religious beliefs had ever been then, a set of precepts so deeply inculcated in her that they became automatic, even instinctive? Hear the word God, think He. See the misery of humankind, blame Eve. Obey your parents, be a good girl, vote Trinity Party, never sit with your legs apart. Don't question, just do as you're told."

What might give a reader pause is that there is a fine line between honoring a Classic such as The Scarlet Letter and, being unoriginal. The Scarlet Letter certainly provided the creative impetus for Ms Jordan; and despite her claims that The Handmaid's Tale (by Margaret Atwood) was not an influence, the comparisons are inescapable. The influence of The Handmaid's Tale may not have been direct, but Ms Jordan's invites the comparison by creating scenes that are strikingly similar in tone and substance to Ms Atwood's own dystopian novel. Drawing so heavily upon the Classic, and coincidentally upon Ms Atwwod's work, for plot points and character creation may give credence to the charge that Ms Jordan may have borrowed too heavily. Still, what Hillary Jordan brought to the table was a fresh, credible voice to the plight of a woman caught between a rock and a hard place.

Heather Corrigan is renders the text very nicely. The listener will be easily able to discern between interior thought and dialogue and, the mood(s) of the protagonist, Hannah Payne, from whose POV the story is told. Though Heather Corrigan sounds younger than the protagonist, her skill set in bringing Hannah to life is not to be denied. One minor quibble is that the word is "Chrome," not "Crone." Once you know what the word is supposed to be, it's all good :-)

See also:
The Scarlet Letter (by Nathanial Hawthorne)
The Handmaid's Tale (by Margaret Atwood)

Other Stuff: When She Woke (by Hillary Jordan; narrated by Heather Corrigan) qualifies for:

The 2012 Audio Book Challenge hosted by @teresasreading at Teresa's Reading Corner

I purchased and dnloaded a copy of When She Woke (by Hillary Jordan; narrated Heather Corrigan) from weread4you.com. I receive no monies, goods or services in exchange for reviewing the product and/or mentioning any of the persons or companies that are or may be implied in this post.

My Future Self: Home Office Excavation: Week 2

2012-01-22T17:00:00.000-08:00

When I first decided to start de-cluttering my home office, the first thing I did was to take a series of "Before" photos. There turned out to be thirteen photos that covered the various sections of my office (and; no I couldn't get a single shot that encompassed it all!) I decided that each week I would tackle the segment of my office that had been captured in one of the photographs. It's good to have a plan. In fact, there's quite a bit of time required in developing a method of attack for each section. I learned that this week when I just went higgledly-piggedly into the office expecting it to be like last week: After a a few hours, the section would be cleared! Um no. This week I discovered that some de-cluttering solutions require more time and forethought.

Before

One of the things that happened during last week-end's cleanup was that there were literal "shifts" in the strata of stuff in the center of the room. Stuff disappeared into the maw and other stuff washed up on the shores of my fiction book shelves. Also, apparently, I became Queen of Mixed Metaphors!

One of the other noticeable differences that occurred as a result of last week-end's cleanup was that, in removing a stack of books from atop my woofer, more light was able to make it's way in. Working with an iPhone camera, I had been unable to get a clean, clear photo the first time around; but this time I was able to get a very detailed picture. One can also safely guess that the admittance of light probably has a more positive effect upon my moods than sitting in dismal gloominess :-) (☜ ☜ See that? A smiley emoticon!)

At first blush, there doesn't appear to be much that I need to do and the "After" photo (see below) isn't so dramatic as last week's; but still, there's enough to tackle!

In the upper left hand cube, you can see a box laying horizontally across the tops of books. It's The Complete National Geographic (Every Issue of National Geographic Since 1888 on DVD-ROM.) DH bought it for me for Christmas in 2010 because even then, the clutter had been an issue; and this was DH's response to the years of National Geographics that I had on hand and in storage (Yes, there is a storage unit somewhere... to be discussed later. Much, much later.) I haven't even opened the box set of DVD-ROMs, but I'm going to do so this week. If it's all good, then I'll be donating the National Geographic print magazines to an organization that wants them. I will pay the shipping costs because it will be worth it for me to get them out of here. If the CD-ROM thing doesn't work out, I will get a bunch of magazine files and store the 30+ years of magazines on top of the non-fiction shelving unit. BTW, for those of you who own a backlog of National Geographic magazines and would like a way to find any article you may want to read, The Publications Index is very handy indeed :-) (☜ ☜ Look at that! Another smiley emoticon! Before you know it, I'll be whistling while I work!)

Note to Self: Start researching who wants old National Geographic magazines

In the next cube to the right, you can see a shiny gilt edge of something. This something is a frame that, uh, frames a needlepoint portrait of Mary, Mother of God. The needlework was done by my godfather's wife in 1978 to commemorate my Confirmation in the Roman Catholic faith. Now, my faith isn't what it used to be; but the needlework is really fine and the overall picture is beautiful. It will be hung in my daughter's bedroom and away from direct sunlight.

Note to Self: Pick up picture hanging hardware. Actually I just need a nail.

In the cube below the first one, you can see a piece of paper. It's an Earphones Award for The Rise and Fall of the Third Reich (by William L. Shirer; narrated by Grover Gardner.) I was the studio engineer for all fifty-seven-plus hours of the production. The Earphones Award was bestowed by AudioFile Magazine to the narrator and he gave it to me for safekeeping. This is not what he had in mind. So, the award goes into a plastic folder thing for now. I would like to have all of Grover's Earphones awards framed and I have a great patch of wall in my office where they could all go.

Note to Self: Blackstone had a whole bunch of Earphones awards framed and mounted in one of the conference rooms. Find out from Josh's secretary where they had the framing done and about how much it costs.

Diagonally across from the Earphones Award, there is a orange, brownish blob. It is a jar of honey. It was also a hostess gift a narrator brought when he came over for dinner. An Albanian beekeeper in Southern California produced the jar of honey; and for some reason I don't want it opened, much less eaten. It's sort like a little arty icon sitting there. I can't explain it; but there it sits. It's gotta move because it does not belong on a bookshelf. So off to the kitchen, onto a top shelf where hopefully DH won't raid it during some midnight feeding frenzy.

Note to self: Put a florescent green Mr. Yuk sticker on the jar to deter DH

Next to the honey jar there is a CD, Louisiana Fairytale: Tommy Sancton's Crescent City Serenaders. This gets shelved with Song for My Fathers (by Tom Sancton) on a TBR shelf.

And now onto the seemingly innocuous thing: The papers, basket and plushy pineapple you see in the corner of the photo. It doesn't look like much; but it actually fills an entire 20"L x 14"W x 10"H bin and then some. I know this because I've taken all the stuff and put in the described white bin and hauled it into the dining room to be sorted and dispositioned. Ironically, I had to spend some time clearing off the dining room table first :-/

The plushy pineapple, a souvenir to the Dole Plantation in Hawaii when I was eight years old, goes into my daughter's plushy bin. When I recover the Dole patch that was on it, I'll sew or hot-glue it back on. The white basket goes back into the office, this time residing on top of the fiction book shelves, to be brought out again at Easter. The papers were sorted. I'll spare the grueling details of this one for now; but I'll get into it later when we're just dealing with paper clutter. I will say, however, that we are now eating off of TV trays because I've requisitioned the dining room table to do paper triage.

Found objects: A red croquet ball, two 3 lb hand weights, a clear tack and, a dust bunny the size of a small cat. The red croquet ball gets put aside to be later stored with my Alice in Wonderland ephemera (which I believe may be behind door #3, which is currently obstructed by the Mountain of Mess); The hand weights get put in the master bedroom, hopefully to be joined by the workout DVD that goes along with it as soon as I can find it; the clear tack gets picked up off the floor and stuck into the bulletin board (to be put up once I have the floor space to position a stepping stool) and; the dust cat gets consigned to the dust bin.

After

Old Skool "Infographic": Bond Novels 08-14

2012-01-22T16:58:00.000-08:00

It seems like everyone likes a sexy, eye-catching Infographic these days and I'm no exception. Last week, while I was trying to work through a workflow problem, I thought being able to create an Infographic would be really cool way to help me organize my thoughts. But I was watching playoff games on television and was disinclined to not watch - which is what I would had to have done in order to focus on dnloading the right-for-me program, learn it and experiment with it before finally ending up with the product I wanted. Instead, I got out a batch of mini-Post-It notes and produced a chart of approximately 75 scribblings. This is what resulted by halftime of the first game:

Interestingly, the chart is still being developed as my DH adds his two cents in every once in while and now the chart is closer to 100 pieces and counting. What I discovered was that I liked being able to move the Post-It notes around and being able to see it all up on a wall. There's a flexibility and capaciousness to the whole IRL experience that I prefer over the confines of a program, however sophisticated and sexy it might be. In the past, I've drawn things out in elaborate detail on big (24" x 36") sheets of drawing paper. I once had a twelve sheet deal going for The Epic of Gilgamesh that, unfortunately, didn't make the move out West. Since I've been here, I had been moving way from the thinking-with-drawings and such; but last night, after watching Goldfinger (Shaken Not Stirred: A Simon Vance Audio Book Challenge featuring James Bond), I was checking out the next title in the Bond Novels, Quantum of Solace. QOS is a collection of nine short stories; and it turns out, figuring out what stories went with what audiobook collections and movies was not as straightforward as one might have hoped. After a quick flurry of googling, I decided to put up a quick "Old Skool Infographic" of the relationships. With this on the wall, I then created the blog post, FYI: Quantum of Solace. The "Old Skool Infographic" isn't sexy. In fact, it's just another way to outline material; but I like it :-)

Okay, the New York Giants are playing the SanFrancisco 49ers and halftime is over. See you later :-)

FYI: Quantum of Solace

2012-01-21T22:36:00.000-08:00

Quantum of Solace: The Complete James Bond Short Stories (by Ian Fleming; narrated by Simon Vance) contains nine "shorts":

From a View to a Kill
For Your Eyes Only
Quantum of Solace
Riscion
The Hildebrand Rarity
Octopussy
The Property of a Lady
The Living Daylights
007 in New York

The first five of these shorts are contained in the audiobook, For Your Eyes Only (by Ian Fleming; narrated by Simon Vance). The next two featured films in the Shaken, Not Stirred: A Simon Vance Audio Book Challenge Featuring James Bond, are Quantum of Solace (starring Daniel Craig) - viewing party on 02/25/2012 and; For Your Eyes Only (starring Roger Moore) - viewing party on 03/24/2012. Both movies are based on these five shorts:

From a View to a Kill
For Your Eyes Only
Quantum of Solace
Riscion
The Hildebrand Rarity

The movie, Octopussy (starring Roger Moore), which will be the subject of the Shaken, Not Stirred viewing party on 09/22/2012 is based on the next three shorts and are contained in the audiobook, Octopussy and The Living Daylights (by Ian Fleming; narrated by Simon Vance):

Octopussy
The Property of a Lady
The Living Daylights

The short story, 007 in New York (by Ian Fleming; narrated by Simon Vance) is unique to Quantum of Solace: The Complete James Bond Short Stories (by Ian Fleming; narrated by Simon Vance).

All of the stories that are in the audiobooks, For Your Eyes Only and Octopussy and The Living Daylights are in Quantum of Solace: The Complete James Bond Short Stories; but only the the complete short story collection contains 007 in New York.

Goldfinger

2012-01-19T00:01:00.001-08:00

Goldfinger
James Bond Novel #7
by Ian Fleming
narrated by Simon Vance
08.50 hours
Ⓟ 2001, Blackstone Audio, Inc.

James Bond, agent with Britain's Secret Service and with a license to kill (as denoted by the double-ought digits in his agent number, 007) meets up with Auric Goldfinger, a card cheat and greedy-for-gold businessman who is also suspected of gold smuggling and subsequently undermining world markets. Bond is given the assignment to figure out how Goldfinger is doing it. In the process, Bond discovers that Goldfinger has an even more ambitious scheme of robbing Fort Knox of $15 million in gold bullion!

One of the great things about the Bond novels is that, unlike the films, Bond is not the hero who emerges from his escapades unscathed and looking pretty. In past novels, the vicissitudes of the trade are visited upon Bond and others in rather shocking and graphic detail. As any given scene is introduced and unfolds, you really aren't sure how it's going to end and hence, Fleming brings true suspense to his spy thrillers:

"He let his head fall back with sigh. There was a narrow slit down the centre of the polished steel table. At the far end of the slit, like a foresight framed in the vee of his parted feet, were the glinting teeth of a circular saw."

Scenes don't end the way you think they will and, it's in the how far they go that leaves readers a bit shocked or even gasping aloud.

Goldfinger was written in 1959, and what might give today's readers/listeners pause in regards to the Bond novels is the political incorrectness in the stories. The sentiments that are expressed can be jarring and it is somewhat bizarre that in every novel so far there has been at least one passage or idea expressed that compels a knee-jerk reaction to the 21st century reader. In Goldfinger, there is this:

"Bond came to the conclusion that Tilly Masterson was one of those girls whose hormones had got mixed up. He knew the type well and thought they and their male counterparts were a direct consequence of giving votes to women and 'sex equality'. As a result of fifty years of emancipation, feminine qualities were dying out or being transferred to the males. Pansies of both sexes were everywhere, not yet completely homosexual, but confused, not knowing what they were. The result was a herd of unhappy sexual misfits - barren and full of frustrations, the women wanting to dominate and the men to be nannied. He was sorry for them, but he had no time for them."

Cringe-worthy indeed. Wait until you see how Fleming draws Pussy Galore :-/

Simon Vance narrated Goldfinger ably and well: His characters are well delineated, though if one were to quibble, it would be that his American accents are not quite what they could be. Vance's later works (e.g. Paul is Undead by Alan Goldsher wherein he narrates the part of a native Chicagoan) show how far he has come in ten years :-)

See Also:

Casino Royale (James Bond Novel #1; by Ian Fleming; narrated by Simon Vance) - Audiobook [Mini-] Review

Other Stuff: Goldfinger (by Ian Fleming; narrated by Simon Vance) qualifies for

The Shaken, Not Stirred: A Simon Vance Audiobook Challenge Featuring James Bond hosted by @lithousewife. On Saturday, January 21, 2012, 9:30 p.m. EST, there will be a twitter discussion of the audiobook followed by a twitter viewing party of the movie :-)
The 2012 2012 Audio Book Challenge hosted by @teresasreading at Teresa's Reading Corner

I borrowed an MP3-CD edition of Goldfinger (by Ian Fleming; narrated by Simon Vance) from Blackstone Audio, Inc. I receive no monies, goods or services in exchange for reviewing the product and/or mentioning any of the persons or companies that are or may be implied in this post.

My Future Self: Home Office Excavation

2012-01-15T09:55:00.001-08:00

It's time. My hoarding and disorganization are badly effecting my ability to get anything accomplished, both physically and mentally. In five years, my home office has become a dumping ground, a safety hazard and a dead zone wherein nothing can happen because I can't find anything I need. Psychologically, the mess is overwhelming and enervating. I bought two audiobooks to help me with my issues, Throw Out Fifty Things (written and narrated by Gail Blanke) and The Hoarder in You ( by Dr. Robin Zasio; narrated by Cassandra Campbell.) I listened to the former a couple of years ago, never got around to reviewing it, planned on re-listening to it in order to poss a review and, then said, "Screw it." I remember it wasn't that helpful to begin with only because it presumed a greater level of organization in your home that I had and, it was more of a motivational spiel about how to de-clutter your life. Also, it was full of well-intentioned and highly suspect examples that I took issue with. Plus, there's something weird about Gail Blanke's voice delivery (dentures? lockjaw? what?) I haven't gotten around to listening to The Hoarder in You because I'm that disorganized now. Blogging deadlines are slipping past me and, combined with unreasonable blogging goals that extend into my personal life, I've created a hole, jumped into it and now I can't figure out how to get out of it except to say "Stop." I need to take a deep breath, assess what I need to do, what I can do, and take the time I need to get myself together. One of the things I need to do is get my home office excavated. This project I'm estimating will take about three or four months. Yeah, that's right, not a week-end project by any means!

Today I've posted a picture of one corner of my home office, representing only a tiny fraction of the mess I'm in! And this is what I'm doing about that corner:

Throw out the trash: There's a small waste basket underneath my desk. Because I'm a hoarder, I don't actually throw a lot away at all. As a result, the trash that's in there can have been sitting there for weeks. Alright, the trash goes out and I put a reminder on my calender to throw it out every Monday and take out the garbage (pick-up is on Tuesdays) whether or not the trash basket or the garbage can is full.

The Classics that are stacked on top of the harmon/kardon woofer on my desk? See them? It's under the Girl Scout sash! The Classics get moved to a bookshelf in the living room. Ordinarily, I wouldn't put paperbacks out; but the covers and spines are nice enough looking this shouldn't pose an aesthetic issue. The Girl Scout sash goes back into storage in a bin under the bed. The bin isn't as airtight as I would like; but I'll deal with bedroom stuff later, hopefully this summer. Wow, there's actually more light coming in now that I've cleared away that stack away from the window!

The piece of cardboard on top of laundry is actually a very detailed drawing my daughter made as a birthday card for me one year. I'm fascinated by her highly stylized cats and dogs and am determined to keep this gift around. I've stacked it along with some lithos, posters and mirrors on the floor (to the left of the book case - you can catch a glimpse of a poster tube in the corner) for now. Once I have some floor space in here, I'll be able to bring in a stepping stool or ladder to put up some wall decor.

The dry cleaning: The first few items you see on the pile of clothes are actually clean. I've put them on plastic hangars and hung them up in my daughter's closet for now. Eventually, I will upgrade to wooden hangars and move them into the closet that is in this room (but that I can't get to because of stuff obstructing the way. The sweaters all go into a big plastic bag that will live in my car for the next few weeks. I can't afford to get them all dry-cleaned at one time, so I will pull out one sweater a week until all are done. As the sweaters are cleaned, they'll be stored in the master bedroom closet.

The brown envelope on the floor next to the laundry basket contains material from the Books on the Nightstand Readers' Retreat in 2011. One thin I forgot to tell y'all is that I'm also a sentimental girl! I like souvenirs and errata from my travels and experiences. I'm not much of a scrap booker though. I'm not an "arts-and-crafty" kind of person, go figure. Anyway, I decided to shelve the envelope with the books written by the authors from the retreat (yes, there is a special BOTNS Retreat Shelf!)

Books on the floor: Oh boy. This is only one of the floor piles of books that take up space in my office; but the only one I'm going to tackle today. These are all books that qualify for the various challenges I've signed up for this year. Since Thanksgiving, I've been pulling books from the shelves and sorting them into categories. Hmm, see that cube shelf with one book (Jane Austen's Seven Novels) on it? The hardback gets re-shelved with my copies of Persuasion, Sense and Sensibility and a DVD of Persuasion and the cube is now double shelved with the books from the floor. Three books couldn't fit vertically, so I've popped them on top horizontally. As these books are read , some will go back on the shlelf, others will goto the hardback shelves in the living room, others will go to the non-fiction shelves and, others will be donated. to the Friends of the Library.

Dirty glass: No brainer. Goes to the sink in the kitchen to be rinsed out before going into the dishwasher.

Hidden objects: So far I've turned up 11¢, an Ann Taylor barrette/hair clip, a giant office clip and, two Post-It notes with outdated scribbles on them. The loose change goes into my daughter's piggy bank, the hair clip goes to live with other hair accoutrements that I own, the giant office clip goes into my top desk drawer and the Post-Its get thrown away.

As I was working, there have been some seismic shifts in my office! That Other Press tote bag as well as the papers that you see in the bottom right right corner of the photo have been swallowed up into the paper mess/vortex in the center of my room! Alright, I'll deal with all that when the time comes. In the meantime, this is the "after' photo of the same corner.

Relatively speaking, it's not much; but it's start!

The Handmaid's Tale

2012-01-12T00:01:00.000-08:00

The Handmaid's Tale
by Margaret Atwood

The Handmaid's Tale was originally published in 1985.
This eBook edition was purchased and dnloaded in December, 2011

Offred, once a citizen in the state of Massachusetts in the U.S., is now a Handmaid in the early days of the Republic of Gilead (late twentieth century,) a totalitarian state predicated on religious fundamentalism as a recourse to the moral decay and societal upheaval, including declining birth rates, in the former democracy. Gilead, in addressing the need for more well-baby births, creates and dictates the role of the Handmaid, a surrogate mother for infertile couples, via a literal and patriarchal reading of Genesis 30: 1-3:

And when Rachel saw that she bare Jacob no children, Rachel envied her sister and said unto Jacob, Give me children or else I die. And Jacob's anger was kindled against Rachel; and he said, Am I in God's stead, who hath withheld from thee the fruit of the womb? And she said, Behold my maid Bilhah, go in unto her; and she shall bear upon my knees,* that I may also have children by her.

*Italics mine

Offred, a fertile woman, is assigned the role of a Handmaid; but the role, as prescribed by the Genesis passage, also entails the presence of both the wife and the Handmaid during attempts at conception; and in the event of a birth of a child, the wife plays the role of the birth mother in terms of societal recognition and esteem.

This return to Biblical precepts and melding them into intransigent law and an absolutist government creates an atmosphere of awkwardness, fear and suspicion, thereby sacrificing wisdom and compassion on a metaphorical altar to the God who needs to be appeased. As primitive a reaction to to societal misfortune as this is, it is an enduring practice as demonstrated by current events and Margaret Atwood's vision of a very possible future.

The Handmaid's Tale is a neat trick of remembering our future. By leaving the actual time unspecified, grounding the vision of the dystopian future in realistic terms (there are cars, guns and surveillance, but no UFOs, intergalactic wars or time travel), having some of her predictions come true (ATM cards, the concretization of a Middle East country as a security threat as opposed to the Soviet Union) and, adding an epilogue that provides "historical" perspective, Atwood creates a work of speculative fiction that has currency in the present as a cautionary tale against the combination of religious fundamentalism and government, the ease with which citizens can be marginalized and, how good intentions and technology can work against the society it was intended to help. Offred chronicles her life as a Handmaid (a birth mother for infertile couples) in the optimism that there will be a future audience, that her story will be a matter of future history from which something may be learned, if nothing else, "Nolite te bastardes carborundorum."

See also:
The Scarlet Letter (by Nathanial Hawthorne) - a review of the print edition of the Classic Flashback Friday: 1984 (by George Orwell; narrated by Simon Prebble) - a mini-review of the audiobook

Other Stuff: I purchased and dnloaded a copy of The Handmaid's Tale (by Margaret Atwood) from Barnes & Noble/nook. I receive no monies, goods or services in exhange for reviewing the product and/or mentioning any of the persons or companies that are or may be implied in this post.

Gerbils

2012-01-10T09:10:00.000-08:00

This morning, while sitting in the safety of the dumping ground that is also known as my home office, I heard a skittering. My heart stopped. I thought "rats." I was ready to call off going into work in favor of completely emptying the house and quite possibly fire bombing the place, when I saw the intruder. It was our pet gerbil, Tattle (There used to be two gerbils, Rattle and Tattle; but sadly Rattle passed away two years ago.) I have no idea how Tattle got out of his cage and crossed to the other side of the house without incident; but there he was, pondering my non-fiction book shelves. After a couple of truly lame attempts to catch him, I woke up The Father of My Child (what I call DH when I'm not particularly happy to be in love) and had him capture the rodent... This brought to mind an incident a couple of years ago when we first got the gerbils:

Pulling into my driveway with my daughter in the backseat, I was confronted with the slightly alarming sight of a floor lamp peering out of a window. The bulb was directly facing me and appeared like a giant white eye staring at me. I knew something was wrong. So, instead of being sensible and calling the police, I told my daughter to get down on the floor, while I locked her in and snuck in the side door. The sight that greeted me was total chaos. The kiddie gate from the kitchen/dining room area and into the playroom was blasted into smithereens, the gerbil cage was on the floor, upside-down and smashed and, the floor lamp was leaning against a toy bin (and peering out the window.) My old crippled dog was in a corner fruitlessly endeavoring to gain purchase on the new Pergo flooring and the new dog was howling. In a way akin to knowing when there's a TV on in the house even though it may be muted and out of sight, I could immediately tell there was no one in the house. That still didn't stop me from going from room-to-room with a golf club (a Tommy Armour Golden Scot #1 driver thank you very much) which was inside the entry door. After making sure everything was all clear, with the dogs still scrambling and howling, I went out to the car, brought my daughter in and sat her in the dining room and had her eat a Happy Meal. I picked the old dog up off the floor and got her ensconced on a dog bed. I threw a dog toy outside (the howling dog immediately stopped howling and went to hunt down the toy). Then I went in to assess the damage properly.

As near as I can reconstruct, the younger dog, knocked the gerbil cage off of the counter and onto the floor. The plastic cage cracked, tubing collapsed and the two gerbils made their escape. Maggie (the dog) went ballistic and crashed through the gate to go in after the rodents. In the ensuing chase, the lamp was knocked over. OK, but where are the gerbils? There are only two possible answers: either Maggie ate them or they were hiding somewhere. Now I make the call to the Father of My Child whose bright idea it was to get gerbils as a pets for my daughter ("It will teach her responsibility") and he puts me on speaker phone while I utter the now- immortal line, "We have a problem with the gerbils." This elicits all sorts of laughter and adolescent punch lines from grown "men" who happen to be sitting in TFOMC's office. TFOMC, still giggling, manages to assure me that the gerbils were probably too fast for Maggie and are probably in the room somewhere. The room is a 4 inch drop from the kitchen and as they are only 3" extended, they are probably still in the room.

Now comes my least favorite part. I am a bacillophobe and not particularly fond of any rodent of any stripe (or color.) And now I'm being asked to track two of these f!@#ers down. OK, calling upon my experience in the Omousa bin Laden Tour of Duty (2002) I start taking apart the room. I followed the poop. In their frantic bid for safety, they pooped all the way to their hiding places. I capture them in one of those clear plastic balls that gerbils and hamsters can roam around in. Then the clean-up. EEEEEEEW! A gallon of bleach later (which reminds me I must stop wearing black when I undertake these adventures) the room is in order and smelling "Mountain Fresh." I am now out the door to get a rug shampooer, a new gerbil enclosure, a new kiddie gate and, a doghouse. And I'm using TFOMC's credit card. That'll teach him to put me on the speaker phone!

The Scarlet Letter

2012-01-03T00:01:00.001-08:00

The Scarlet Letter

by Nathaniel Hawthorne

Introduction and Notes by Nancy Stade

General Consulting Editor, George Stade

The Scarlet Letter was first published in 1850.

This trade paperback edition was published in 2005.

Why should we read the Classics? One reason is for the history not only of the time and place; but for the ideas that have found expression through the writer. Roughly 4500 years ago, some scribe marked up The Epic of Gilgamesh into clay tablets. We have an intriguing glimpse into the time and place and some action points to string a story together; but we don't have a sense of what the characters were really thinking or what sensibility guided their thought processes. What was it like to live in a world where you perceived time as circular and cyclical, not linearly? How did the concepts of civilization, a major shift from the nomadic and animistic lifestyle change their worldview? How did the oral tradition and sense of history transmute their own sense of culture? Unfortunately, it is unlikely that we will ever know because the story contains no explanation. It is no more than a historic artifact celebrated for being the oldest written story. The Classics, however, tell us more. The Classics provide a sense of "interior history," ideas that had currency when they were written and still inform our culture today.

But why should you read The Scarlet Letter? The events that make up the main body of the work were not contemporary to the writer so how could he posit a credible story that reflects a mindset of a society that he could not have possibly have experienced? But the thing is, he did. No, Hawthorne did not live in the 17th century; but he did live in a small town with a strong cultural legacy to that time and; family ties bound him to the history of which he wrote. He was living with the effects a Puritanical society that embedded itself into the political consciousness of his day and, actually still lives with us even now (Don't fool yourself that because we don't put people in stocks or force them to wear a scarlet "A" upon their breasts, that we don't excoriate adulterers, especially if they happen to be public figures.) Hawthorne builds the first bridge between the events of 1650 and 1850 by creating prologue in which he discovers the documents that purportedly contain the events of the main body of the story. The second bridge is the one created by the reader's connection to the text. The second bridge is a meta-literary experience that elevates the text from being an artifact to being historically relevant, something from which, like all history, we can extricate meaning to our current lives.

The Scarlet Letter is an exposition of how religious and political thought cohered to create an inheritance of our American culture: a paradox of sex and sexuality, religious freedom that incarcerates and the punishment that frees. Hester Prynne falls in love with a man and gets pregnant by him; but does not enjoy the benefits of marriage which apparently include not being shoved into a jail cell, being publicly called out for her sin, reminding everyone else of her indiscretion by wearing a red "A" upon her chest and, being pretty much excluded from town life. Had she been married to the man, this would not have happened. So, falling in love and having sex with the man is a sin when the sanctity of marriage is not conferred by the town-church; but falling in love and having sex with a man becomes the consecration of life affirming values when you add in the public endorsement of marriage. It's a fine line between hypocrisy and relative morality. Hester Prynne is punished for her transgression; but her moment in the the town square (wherein she is brought out before all the townspeople) is meant to be an occasion for her not only to renounce her sin; but to give up the name of her lover as well so that he too may be free of guilt. Only through renunciation can the opportunity exist for forgiveness. There is an celebratory atmosphere to the denunciation of Hester Prynne. A zealful, but compassionless event in which Hester Prynne's pride is sacrificed to the self-righteous crowd. Except that Hester doesn't renounce her sin, give up her lover's name and, the public does not forgive or even really seem inclined to do so (after all the punishment begins before the possibility of her renouncement.) Ironically, Hester Prynne's punishment actually does free her: Her isolation forms her into a woman of independent thought, devoid of the hobbling dictates of the Puritan community.

The Scarlet Letter offers a lot in terms of ideas as to who we were, who we are and through the second bridge, who we can be.

Other Stuff: The Scarlet Letter (by Nathaniel Hawthorne) qualifies for

The What's in a Name? Challenge #5 hosted by @BethFishReads as a "book with something you'd carry in your pocket, purse, or backpack in the title [e.g.] Sarah's Key, The Scarlet Letter, Devlin Diary"

I purchased The Scarlet Letter (by Nathaniel Hawthorne) from the Barnes & Noble store in Medford, OR. I receive no monies, goods or services in exchange for reviewing the product and/or mentioning any of the persons or companies that are or may be implied in this post.

"Then you will know the truth, and the truth will set you free."
--- John 8: 32

Where are You Reading? Challenge Wrap Up

2011-12-29T00:01:00.000-08:00

The Where are You Reading? Challenge was hosted by Sheila at her blog, Book Journey. The idea was to read a book set in each of the fifty states. I didn't make it; but I gave it an ernest effort and I had a lot of fun playing with the google map! I read/listened to 69 titles across 30 states and the District of Columbia and, posted 27 reviews:

AL: The Most They Ever Had (written and narrated by Rick Bragg)
AK: Caribou Island (by David Vann; narrated by Bronson Pinchot)
AR: Shakespeare's Landlord (by Charlaine Harris; narrated by Julia Gibson)
AZ: 3:10 to Yuma (by Elmore Leonard; narrated by Henry Rollins)
CA: When the Killing's Done (by T.C. Boyle; narrated by Anthony Heald)
CA: The Haunting of Hill House (by Shirley Jackson; narrated by Bernadete Dunne)
CA : Psycho (by Robert Bloch; narrated by Paul Michael Garcia)
CA: Buffy the Vampire Slayer: Volume #1: The Long Way Home (by Joss Whedon and Georges Jeanty)
CO: Columbine (by Dave Cullen; narrated by Don Leslie)
CT: Deep Down True (by Juliette Fay; narrated by Robynn Rodriguez)
CT: Dead Man's Switch (by Tammy Kaehler; narrated by Nicole Vilencia)
CT: Unexpectedly, Milo (by Matthew Dicks)
CT: Happy Ever After (by Nora Roberts)
CT: Hellboy: Volume #2: Wake the Devil (by Mike Mignola)
CT: Hellboy: Volume #3: The Chained Coffing and Other Stories (by Mike Mignola)
DC: A Simple Act of Violence (by R.J. Ellory; narrated by Kevin Kenerly)
DE: West of Rehobeth (by Alex D. Pate; narrated by Dion Graham)
FL: Nature Girl (by Carl Hiaasen; narrated by Lee Adams)
FL: The Revenge of the Radioactive Lady (by Elizabeth Stuckey French)
FL: The Shawl (by Cynthia Ozick)
GA: A Quiet Belief in Angels (by R.J. Ellory; narrated by Mark Bramhall)
GA: The Walking Dead: Volume #2: Miles Behind Us (by Robert Kirkman et al)
GA: The Walking Dead: Volume #3: Safety Behind Bars (by Robert Kirkman et al)
HI: Unfamiliar Fishes (writtten and narrated by Sarah Vowell)
IL: The Last Striptease (by Michael Wiley; narrated by Johnny Heller)
IL: Death Masks (by Jim Butcher; narrated by James Marsters)
IL: Blood Rites (by Jim Butcher; narrated by James Marsters)
KY: The Walking Dead: Volume 1: Days Gone Bye (by Robert Kirkman et al)
MA: A Drink Before the War (by Dennis Lehane; narrated by Jonathan Davis)
MA: Does the Noise in My Head Bother You? (by Steven Tyler with David Dalton; narrated by Jeremy Davidson)
MA: The Vices (by Lawrence Douglas)
MA: House Arrest (by Ellen Meeropol)
MA: The Handmaid's Tale (by Margaret Atwood)
MD: Countdown (by Jonathan Maberry; narrated by Ray Porter)
MD: Patient Zero (by Jonathan Maberry; narrated by Ray Porter)
MD: Zero Tolerance (by Jonathan Maberry; narrated by Ray Porter)
MI: Big Girl, Small (by Rachel DeWoskin; narrated by Christine Williams)
ME: Carrie (by Stephen King; narrated by Sissy Spacek)
ME: Maine (by J. Courtney Sullivan)
ME: Hell House (by Richard Matheson; adapted by Ian Edgington; illustrated by Thomas Fraser)
ME: The Taker (by Alma Taksu)
MN: The Chocolate Chip Cookie Murder (by Joanne Fluke; narrated by Suzanne Toren)
MN: Shiver (by Maggie Stiefvater; narrated by Jenna Lamia and David LeDoux)
MO: The Adventures of Tom Sawyer (by Mark Twain)
MO: The Adventures of HUckleberry Finn (by Mark Twain)
MO: Finn (by Jon Clinch)
MS: Crooked Letter, Crooked Letter (by Tom Franklin; narrated by Kevin Kenerly)
NJ: Hotel for Dogs (by Lois Duncan; narrated by Katy Kellgren)
NJ: The Plot Against America (by Philip Roth)
NY: Rip Van Winkle (by Washington Irving; narrated by Christian Rummel)
NY: The Ghost of Greenwich Village (by Lorna Graham; narrated by Nicole Vilencia)
NY: Live and Let Die (by Ian Flaming; narrated by Simon Vance)
NY: Diamonds are Forever (by Ian Flaming; narrated by Simon Vance)
NY: A Visit from the Goon Squad (by Jennifer Egan)
NY: Fables: Volume #3: Storybook Love (by Bill Willingham et al)
NY: Fables: Volume #4: March of the Wooden Soldiers (by Bill Willingham et al)
NY: Fables: Volume #5: The Mean Seasons (by Bill Willingham et al)
NY: Fables: Volume #6: Homelands (by Bill Willingham et al)
NY: We the Animals (by Justin Torres)
NY: By Nightfall (by Michael Cunningham)
OK: True Grit (by Charles Portis; narrated by Donna Tartt)
OK: Ready Player One (by Ernest Cline; narrated by Wil Wheaton)
PA: Lily's Wedding Quilt (by Kelly Long; narrated by Christine Williams)
TN: The Improper Life of Bezilla Grove (by Susan Gregg Gilmore)
UT: Jitters: A Quirky Little Audio Book (by Adele Park; performed by Adele Park, Susan Paige Lane, Paige Allred, Kristen Henley, Desiree Whitehead, Garry Morris, John Gobson, Steve Coppola, Christine Hyatt, Dave Cochran, Chase Nichter, Tim Porter, Doug Caputo, RickPickett and, Guy Smith)
VA: The Reservoir (by John Miliken Thompson)
VT: Double Black (by Wendy Clinch)
VT: Secrets of Eden (by Chris Bohjalian)
WA: A Spark of Death (by Bernadette Pajer; narrated by Malcolm Hillgartner)

And this is the map!

View dogearedcopy map 2011 in a larger map

I ended up included pins for every book I read/listened-to so there are plenty of pins set in foreign countries too!

Epiphanies 2011

2011-12-27T00:01:00.000-08:00

Instead of writing a "Best of" post, I've decided to write about a couple of the ideas that came about from my reading & listening this year and, mention some of the books that helped shape these ideas.

☆ Social Injustice: I went back to reading Atiq Rahimi (Earth and Ashes; The Patience Stone and A Thousand Rooms of Dreams and Fear) this year with the idea of exploring "Aggregating Grief" and, instead, came away with a more clear picture of social injustice. At it's most basic, social injustice is the thing that happens under human impetus that causes you to cry out "That's not fair!" There are two possible responses: 1) "That's life" or 2) "Then I need to make it fair."

Can one person solve all the social inequities? I think one person tried and literally got crucified for it; but more to the point, while one person may not be able to solve the world's problems, one person can make a difference. The idea is not to judge who may be worthy of your time, attention or money; but to act in a compassionate way to make things better. To make things fair. Maybe even just to help someone else through a couple hours that they might not otherwise be able to.

A Christmas Carol

2011-12-21T17:23:00.000-08:00

A Christmas Carol

by Charles Dickens

narrated by Tim Curry

Ⓟ 2010, audible.com

3.5 hours

Yeah, you think you know the story; but unless you've read the actual work or listened to an unabridged recording of the Classic tale, you don't. That's right, as much as the premise of this story has permeated our Western culture, you probably only know it as the tale of Mr Scrooge being visited by three ghosts, Past, Present and, Future; and how these visits transform Scrooge from a cold, miserly curmudgeon into a generous and loving soul. There's a crippled little boy who pulls at our heartstrings by refusing to be bitter and wishing all and everyone good cheer. But this story has been adapted, re-interpreted, and bastardized so often, that the original is sure to surprise anyone who ventures to try it. One element that is often overlooked when repackaging A Christmas Carol as family fare is that there are some truly scary things in it, that the story might more accurately be categorized as a Horror piece. There are careening black horses drawing a hearse, ghosts that outright terrify, visions of sick, starving and dying children, not to mention the cold-heartedness not only of Scrooge; but of Victorian England's penchant for orphanages and workhouses. While Dickens no doubted wanted to call attention to these social injustices and perhaps motivate others to rectify them, the fact is that the social commentary is often suppressed in modern re-makings of the tale, as if children no longer suffer because of [insert any country's name here] government's domestic policy or that social inequity is a quaint artifact of history. What Dickens didn't know was that, in setting his tale at Christmas, the story would be highjacked into a heartwarming, if slightly cautionary tale that limited the wrongs to belonging to just Scrooge. Whereas in the original work, Mr. Scrooge is emblematic of all that is wrong in society, very often Scrooge is now portrayed as the sole miscreant.

This particular edition of A Christmas Carol tips the listener off that it may not be the story that you might expect by starting off with a music tag that sounds more appropriate to a Halloween tale. From the intro, the audio segues into the rather lackadaisical narration by Tim Curry. If you like celebrity reads, no doubt this audio will provide its own inherent charms; but for others who are less starstruck, it's bit disappointing.

Ignorance and Want

John Leech

1843

Wood engraving

Full-page illustration for Dickens'sChristmas Carol: Ignorance and Want

Scanned image and text by Philip V. Allingham.

Other Stuff: I dnloaded A Christmas Carol (by Charles Dickens; narrated by Tim Curry) from audible.com as part of a free dnload promotion for audible.com members in 2010. I receive no monies, goods or services in exchange for reviewing this product and/or mentioning any of the persons, companies and/or challenges that are, or may be implied in this post.

His Mistress by Christmas

2011-12-20T00:01:00.000-08:00

His Mistress by Christmas

by Victoria Alexander

narrated by Susan Duerden

Ⓟ 2011, Brilliance Audio

9.50 hours

When Jane Austen wrote Pride and Prejudice in 1813, she created a template for many future romance novels: The male lead would be wealthy, powerful, respected/feared and, would be eventually brought to heel by someone beneath him socially; and the female lead would be a person whose attempts to cultivate a shred of dignity would be humbled. Somehow, defying accepted social norms and taking each other down a peg in the process leads to a HEA ending :-/

This romance novel differs from the P&P template in that the author has chosen instead to model the tone of His Mistress by Christmas on the 1777 Sheriden play, A School for Scandal. In fact, the farce is mentioned in the context of the story, foreshadowing the comedy of the scenes leading up to the denouement. Lady Veronica Smithson is a wealthy, sexually savvy widow who wants to be a mistress, not a wife. Her intended protector however, is Sebastien, the fourth son in a respectable family. Sebastien craves credibility in his family's eyes and one way to get that is to get married. Having met Lady Veronica, and liking what he sees, he decides that he would like to marry her. Set in 1833 and in London, His Mistress by Christmas features characters who are socially progressive which sets the stage for interesting discussions on the changing roles and identities of the early Victorian woman. The female characters are strongly opinionated and vocal while the men in the story tend to more reserved; but steadfast.

Susan Duerden gives the female characters clear, distinct voices; but the men are less carefully delineated. There is one scene in particular, between Sebastien and his best friend, the American Sinclair, where the listener may be uncertain as to whom is talking. Also, there is not a significant parenthetical drop in tone (or textual indicators like: "he thought to himself") that differentiates between interior thought and that which is spoken aloud. Susan Duerden, does however, pull off the sex scene without any noticeable self-consciousness or hitch; But the passage does use the word "cock" rather artlessly which is a slight jolt to the listening experience.

Other Stuff: I purchased this book through iTunes. I receive no monies, goods or services in exchange for reviewing this product and/or mentioning any of the persons, companies and/or challenges that are or may be implied in this post.

Mount TBR Reading Challenge 2012

2011-12-15T00:01:00.000-08:00

I have an obscene number of books in my home. I hoard books without apology. In five years I have amassed enough titles to cover not only the many book shelves in every room, but also some serious square footage in regard to floor space. Like Depression Era survivors who save every scrap of paper and bit of twine, I, as a result of a massive library shutdown in 2007, am afraid of another dark time in which I will not have access to books. Now steadily employed, even if the libraries were to close again, I know that I could head to the local bookstores, order online or even dnload titles to my nook; but still, the insecurity remains and I continue to acquire books. Just in case.

So the Mount TBR Reading Challenge 2012 is perfect for me! I have enough books even in the last three years to fulfill the Mt. Everest level of this challenge (100+ books); but I know, with the ever constant allure of new releases, I am not going to be hitting that many of my backlist titles. I'm going to start by climbing Pike's Peak, which is a commitment of twelve (12) titles. If this goes well, I'll consider moving up the various mountain ranges:

Pike's Peak: 12 books from your TBR pile(s)
Mt. Vancouver : 25 titles from your TBR pile(s)
Mt. Ararat: 40 titles from your TBR pile(s)
Mt. Kilimanjaro: 50 titles from your TBR pile(s)
El Toro : 75 titles from your TBR pile(s)
Mt. Everest" 100+ titles from your TBR pile(s)

My list, subject to change:

The Religion (by Tim Willocks) - 07/24/2009
Emma (by Jane Austen) - 07/24/2009
The Age of Innocence (by Edith Wharton) - 07/24/2009
Dracula (by arm Stoker) - 07/24/2009
The Royal Road to Fotheringhay (by Jean Plaidy) - 07/24/2009
The Little Book (by Selden Edwards) - 08/02/2009
Lost Illusions (by Honore de Balzac) - 08/21/2009
Agnes Grey (by Anne Bronte) - 08/21/2009
The Blind Assassin (by Margaret Atwood ) - 09/11/2009
The Time Traveller's Wife (by Audrey Neffenegger) - 08/10/2009
The Princes of Ireland (by Edward Rutherford) - 02/13/2010
Rumo: And His Miraculous Adventures (by Walter Moers) - 02/13/2010

The dates listed after the title and author are the dates I entered the title on my goodreads "to-read" ist. The titles listed above are the oldest twelve, unread titles from the goodreads list. I own all the titles above. I will be posting reviews on this blog and on goodreads.

Thanks to My Reader's BLock for hosting

The Mount TBR Reading Challenge

Other Stuff: I receive no monies, goods or service in exchange for reviewing the product and/or mentioning any of the persons or companies that ar or may be implied in this post including but not limited to authors, narrators, publishers, vendors, hosts of challenges and/or the challenges themselves.)

Back to the Classics Challenge 2012

2011-12-13T00:01:00.000-08:00

I have a rather prosaic definition of what a Classic is: It's basically anything labeled as such in the Barnes & Noble Classics Series. While you may snort, and think me rather unimaginative, I find no reason to re-invent the wheel in trying to re-define what a Classic is by any other terms than that it being a public domain title with enduring appeal.

I first found out about the B&N Classics Series in 2007 when I first moved to Jackson County in Southern Oregon. Within 4 months of my arrival, all fifteen branches of the county library system shut down for six months because of budget shortfalls. It was the largest and longest library shutdown in the country at that time. Having refused to transport thousands of books across the country, a very expensive proposition, I found myself literally bookless :-(

I started raiding garages sales, friends and relatives were kind enough to lend and/or give me books and, I discovered the Classics series at the local B&N. For $6.95, I was able to pick up a copy of Pride & Prejudice and I was thrilled! I was on an extremely limited income and owning a new book was luxury.

Ever since the library shutdown, however, I have been a book hoarder! I still scour garage sales, used books stores, book exchanges and, yes I still pick up a Classic from the Barnes & Noble Series every so often. The net result is that I literally live amongst stacks of books, tripping over books that I suspect have flung themselves onto my path in sheer desperation of being noticed and in hopes of being picked up and read! And this is where the Back to the Classics Challenge 2012 comes in. I have stacks of Classics, enough to do this challenge many times over I suspect; but I will limit my commitment to one title in each category and see if I can't make a dent in my TBR lists :-)

Subject to change, this is a list of the titles I have in mind to fulfill the Back to the Classics Challenge 2012:

A 19th Century Classic: The Scarlet Letter (by Nathaniel Hawthorne) - published in 1850
A 20th Century Classic: The Wizard of Oz (by Frank L. Baum) - published in 1900
(Re-read) A Classic of your choice: The Call of the Wild and White Fang (by Jack London) - I listened to the audio of "The Call of the Wild" (narrated by John Lee) in January 2011)
A Classic Play: Julius Caeser (by William Shakespeare; performed by a full cast)
A Classic Mystery/Horror/True Crime: Dracula (by Bram Stoker)
Classic Romance : Emma (by Jane Austen)
A Classic that has been translated from its original language into your language: Lost Illusions (by Honoré de Balzac) - French into English
A Classic Award Winner: The Age of Innocence (by Edith Wharton) - Pulitzer Prize 1921
A Classic set in a country that you (realistically speaking) not visit during your lifetime: Alice's Adventures in Wonderland and Through the Looking Glass (by Lewis Carroll) - Wonderland

All of these will be Barnes & Noble Classics Series editions in trade paperback format, with the exception of The Wizard of Oz (a Barnes & Noble Classic title available as an eBook on my nook) and Julius Caeser, which is an audiobook. I will be posting reviews on this blog and at goodreads

Thank you to @SarahReads2Much for hosting

The Back to the Classics Challenge 2012!

Other Stuff: I receive no goods or services in exchange for mentioning any of the persons or companies that are or may be implied in this post (including but not limited to publishers, vendors, authors, narrators, the host of the challenge and/or the challenge itself.)

South Asian Challenge 2011

2011-12-08T00:01:00.000-08:00

I did it! I managed to complete my one book pledge for the South Asian Challenge! If you're wondering why this is such a big deal (after all, one book doesn't seem like too much to ask) it's because, well... it's Gregory David Roberts' fault! A few years ago, he wrote a book called, Shantaram. It's an amazing epic adventure about Lin, an Australian convict who escapes to India. I listened to the audiobook, narrated by Humphey Bower and, quite simply, it is one of the most amazing books, ever. That's right. Amazing. Ever. In Shantaram, the listener basically falls in love with Lin as he makes his way through the different echelons of India's cultures, forms relationships and, experiences what it is like to be a stranger in a strange land. Encouraged by Shantaram, I eagerly signed up for the South Asian Author Challenge in 2010 and promptly dived into the critically acclaimed White Tiger (by Aravind Adiga.) This was the first of three books I had pledged to read that year; and the only one I finished. I was incredibly disappointed in White Tiger. Maybe it's because, as a native writer, there was much that Aravind Adiga took for granted or didn't think the reader would be interested in; but after having all the exotic senses appealed to in Shantaram, White Tiger felt flat. After that early disappointment, I lost interest in the South Asian Author's Challenge. But when the 2011 edition was announced, I felt a need to redeem myself somehow. @SKrishna made it easy by slightly modifying the rules: There was a one (1) book pledge level; and the author didn't have to be South Asian (hence the challenge's subtle re-naming.) I seriously considered re-listening to Shantaram - that's right, all 42.6 hours of it (it's that good); but on the other hand, I had cached a few books for the 2010 challenge that I hadn't gotten around to.

The one that I ended up picking was actually the one that, for years, I had been intimidated by! The Satanic Verses (by Salman Rushdie) had such a reputation preceding it, that I wondered if I was intellectually capable of "getting it!" I had this idea that Salman Rushdie's writing was as obtuse as Umberto Eco's; that I needed to be more erudite on Muslim theology; that I was overreaching. What caused me to screw my courage to the sticking place and pick this title over the other South Asian titles in my stacks was simply a sense that it was time to do so. Not very epiphanic; but there you have it. I dnloaded The Satanic Verses in audio (narrated by Sam Dastor.) Very quickly, I was engaged and fascinated by the story and laughing at myself for ever having been afraid of this novel!

I finished The Satanic Verses last week and I've been thinking about various aspects of it since: The imagery of William the Conquerer as he landed in Britain; the dreams/time-traveling/hallucinations of Gibreel as he encounters The Prophet and, the Butterfly-clad Ayesha in particular. There were many things I could have written about in regard to The Satanic Verses: magic realism, identity, redemption, good and evil...; and I chose last week to touch on magical realism; but in the future, as I suspect I will be returning to this novel again, I may come back to one of these themes or uncover (a) whole new level of meaning(s).

I recently had occasion to check the print version online (I was looking for a reference while briefly discussing this book with someone else who had read it, albeit a few years ago) and I was struck by how great a job Sam Dastor did in narrating The Satanic Verses. He kept the story moving. Looking at the text, I think I might have been overwhelmed if I had tried to tackle reading it in print. There is an omnipresent invitation to worry over every passage, to wring out of it all meaning before moving on. I think I would have been mired in it very early on and not finished it. But I did finish it and I'm very glad I did!

Thank you Swapna for hosting The South Asian Challenge 2011 :-)

What's in a Name? Challenge #4/What's in a Name? Challenge #5

2011-12-06T00:01:00.000-08:00

I've been shuffling and sorting through my stacks, seeing what books that I already own that also might qualify for the challenge. The good news is that I

Yay! @BethFishReads has announced the categories for the W hat's in a Name? Challenge #5! I've spent some time sorting through my stacks, determining what books would work for the various qualifiers and, I'm pleased that I have something from my TBR stacks that will work for every category! This is good news because I would love to make a dent in my hoardings :-)

Without further ado, this is my tentative list for the challenge:

[Topographical Feature]: Treasure Island (by Robert Louis Stevenson);
[Something You See in the Sky]: A Thousand Splendid Suns (by Khaled Housseni)
[Creepy Crawly]: The Reptile Room (by Lemony Snicket)
[Type of House]: Cleaning Nabokov's House (by Leslie Daniels)
[Something You Carry in Your Purse, Pocket or Backpack]: The Scarlet Letter (by Nathanial Hawthorne)
[Something You'd Find on a Calender]: Year of Wonders (by Geraldine Brooks)

Of course, my selections may change. One thing I learned from this past year's challenge was that I should be flexible and; NOT drink while blogging. I had this idea last year that I was going to be über-creative and do cross media entries (e.g. a book and it's sequel in audiobook.) It didn't quite work out that way and many of the titles I had set aside for the challenge went unread while other titles I tackled qualified quite nicely. That is not saying I won't get creative; only that I shouldn't strait-jacket myself into a reading list or marry a concept, thus make reading a chore! I think this year I might use the books to create a theme for the month in which I'm reading it. It's just an idea I'm considering right now and we'll see how it plays out. The most important thing is that this should be fun :-)

For the curious, this is what I read for the What's in a Name? Challenge #4:

[a book with a NUMBeR in it]: 3:10 to Yuma (by Elmore Leonard; narrated by Henry Rollins)
[Number]: Patient Zero (by Jonathan Maberry; narrated by Ray Porter);
[Number]: Zero Tolerance (by Jonathan Maberry; narrated by Ray Porter);
[a boom with a germ/jewlry in the title]: A Study in Emerald (written and narrated by Neil Gaiman);
[a book with a LIFE STAGE IN THE TITLE]: Death Masks (by Jim Butcher; narrated by James Marsters)
[a title with SIZE in it]: Jitters: A Quirky Little Audiobook (by Adele Parks; performed by various narrators);
[a book with TRAVL?MOVEMENT in the title]: The Walking Dead: Volume 1: Days Gone Bye (by Robert Kirkman et al);
[Travel]: The Walking Dead: Volume 2: Miles Behind Us (by Robert Kirkman et al);
[Travel]: The Walking Dead: Volume 3: Safety Behind Bars (by Robert Kirkman et al);
[a book with EVILO in the tite]: The Satanic Verses (by Salman Rushdie; narrated by Sam Dastor)

Thanks to @BethFishReads for hosting

What's in a Name? Challenge #4 and What's in a Name? Challenge #5

Satanic Verses

2011-12-01T00:01:00.000-08:00

The Satanic Verses

by Salman Rushdie

narrated by Sam Dastor

Ⓟ 2009, Whole Story Audio

21.50 hours

The Satanic Verses is a brilliant, ironic - nearly absurdist, accessible and, engaging novel about two men who fall from a plane that has exploded over The English Channel. From the onset, images of surreal and intense quality flash before the mind's eye, not unlike Alice falling down the rabbit hole. The pictures and language pour out as quickly as a stream of consciousness, at the same time moving with the deceptive slowness of a dream. "Magical realism" is a term that has been applied to this book; but the magic in The Satanic Verses is not really blended with reality so much as we are seeing the mind of each of the protagonists trying to make sense out of the mundane-but-nearly-inexplicable things that happen in their lives. In this way, the idea of creating images to help the person ingest what they are seeing, projecting meaning into events, deconstructing and reconstructing identities and, re-creating our world in a natural and god-like fashion, brings to the fore the question the amount of magic realism that each of use employs at any given moment. Whenever an individual imbues meaning onto a person, a place or thing, they are using their imagination to create a magical realism bubble of their own making and in which they reside. As individuals, we create our values from a subjective space, from within this bubble. We can share our visions whether it is in a common language, family history or, appreciation for a work of art. It is no coincidence that the two protagonists, Gibreel Farishta and Saladin Chamcha are actors, a film star and voiceover performer respectively. These two men live an extreme version of magical realism, being paid to superimpose other peoples visions, to channel a creative idea and, proselytize another's perspective.

For those who are grounded solely in Western, Christian or atheistic cultures, the metaphors with Eastern, Muslim and Indian cultures may be lost upon them; but the novel remains accessible regardless. The outsider glimpses enough of Farishta's and Chamcha's worlds to understand their living contexts and; the concepts of existentialism are universal. For those who have been exposed to or, are a part of Eastern, Muslim and Indian culture, the inherent cultural metaphors are obvious and those listeners will unquestionably get more out of the allegorical devices within the story. Anyone's interpretation of The Satanic Verses is a part of their own magical reality.

Sam Dastor narrated The Satanic Verses. His British accent, light comic delivery and his deftness with the material combine for an engaging audio experience. His pace prevents the listener from becoming mired or overindulgent with the text without treating any of the writing as superficial.

Other Stuff:

This title qualifies for the What's in a Name? Challenge #4 hosted by @BethFishReads. The Satanic Verses is an audiobook with [Evil] in the title, "Satanic."

This book also qualifies for the South Asian Author Challenge 2011:

I purchased this title from weread4you.com. I receive no goods or services in exchange for reviewing this product, mentioning any of the persons or companies named in this post (including but not limited to the audiobook publisher, the vendor from which I purchased the audiobook, author, narrator and/or, the hosts of the challenges) or, the challenges for which this book qualifies.

"Sometimes a cigar is just a cigar."

--- Sigmund Freud

The Pink Chair: Q4. A good narrator can expect an annual income of: $ __________

2011-11-28T06:00:00.000-08:00

1. A narrator is paid by the: ▢ hour ▢ page ▢ book ▢ other
2. A quota is imposed upon the narrator: ▢ true ▢ false
3. Per year, the number of books a narrator submits is:
▢ fewer than 10 ▢ greater than ten (on average)
4. A good narrator can expect an annual income of:
$ __________

Today, I'm going to try and answer the last of four questions (see above) that were posed in a letter of inquiry from a narrator candidate. Before we go there, you should probably go back and review the pay models in question one (click on the link above).

4. A good narrator can expect an annual income of:

$ 0 - ...

Well, now we come to the heart of the matter don't we? Let's face it: times are really rough economically speaking and, many people are hoping to leverage whatever skill sets they might have for money. Perhaps you've been told you have a really nice voice. Or maybe you've been volunteering as a story teller at your local library. Maybe you have some voice over experience. Maybe you've listened to audiobooks and said, "I can do that" or even, "I can do better than that." And maybe, you can; but let's be perfectly candid here: as a beginning narrator, your compensation levels are going to going to be fairly low. If you are currently unemployed however, anything is something or; if you're looking to narrate for a little extra cash, baby could probably get a new pair of shoes :-)

You're probably looking at the answer I gave to question 4 above and going "WTF? That's no answer!"; but it is actually the most accurate one that can be given. Please also keep in mind that, for the finished hour rate, different companies expect different things from their narrators besides simply reading. Pre-reading the book, doing your homework, some preliminary editing (home studio narrators should be delivering product without double takes, etc) and corrections are not figured into the finished hour rates.

$0 - $49/finished hour: We start at "$0" because there are narrators who will do a book for free. The narrator maybe volunteering for a company like Librivox which provides free dnloads of public domain titles. It's a way for some people to get some experience. At slightly above "$0" are the narrators who work speculatively on a title, hoping for a cut on the unit(s) actually sold in a revenue or royalty sharing scheme. If you are working on an rShare project, it should be because you really love the story and feel you could do it justice. [Before the rShare crowd starts sending me e-mails about how this model is still developing and, that there are success stories, wherein a narrator can make more than s/he would make in flat fees, I say put up or shut up. There has been one confirmed success story. I know who it is; but more importantly, I know more people for whom this has NOT been a success story.]

$50 - $124/finished hour: I've heard of a studio that pays its narrators $50/finished hour. The narrators come in to the studio and narrate. I do not know who does the engineering or post or; what other support services may be provided (e.g. research) so maybe the narrator does more than narrate and so the $50/finished hour rate may be an inflated figure. I know of another studio that pays $100/finished hour. The narrator comes into the studio to record; but they are also expected to self-direct, self-engineer and, are responsible for their own research. The studio also charges the narrators $500 to learn how to use ProTools, though they are not a ProTools certification or training center. Also at the $100/fh mark is the stipend offered by ACX (the Audible Creative Exchange program) in lieu of rShare. The narrator provides the finished product to ACX and uploads the book from his/her home studio.

$125 - $199/finished hour: I recently read a story wherein a home narrator was being paid $125/finished hour; but he was not only narrating but was doing the post-editing and cutting the masters as well, which helped bring his actual rate down to $37/finished hour. It made me wonder what else he would do for the money/experience :-(

Generally, however, narrators working in this range are goto readers. They pre-read, do their look-ups ahead of the sessions, either work from home or come into a studio and, do the corrections sessions. Their work is solid and reviews are generally good. At Blackstone Audio, Inc. the narrators have their research provided for or their own research is paid for; technical assistance is available (no charge); post engineers handle the processing, editing and cut the formats; and proofers go over the audio with their bat ears. This is not the same model every audiobook publisher uses however, and you, as a narrator, should ask what exactly is expected of you when you take on a job for an audiobook company.

$200 - $350/finished hour: Narrators working in this range have experience, name recognition, industry awards. They work regularly and play well with others. It's nice place to be. Per finished hour rates that exceed $350/finished hour (maybe even those that exceed $300/finished hour) are disappearing; but it's nice work when you can get it :-)

Flat fees: I have heard of a couple of incredible flat fees paid to some celebrity readers. I cannot confirm them, so I'm not going to offer them up for discussion; but really, it's so outside of the business norm that they really shouldn't be considered in the mix. Chances are, the person who wrote me wasn't using a pseudonym to cover his/her megastar status so we'll throw the celebrity fees out of the equation. An author read, however, is not the same as a celebrity read (unless the author also happens to be a celebrity.) In this case, the author is paid a flat fee for his work; but that is a privately negotiated deal and, again, shouldn't be considered in terms of what a good narrator makes in a year.

What a good narrator makes in a year, depends on what pay model s/he is working for (see questions one), how many books the s/he completes in a year (see questions two and three) and, what rate s/he is working for (see above.) It completely varies from person to person and from audiobook publisher to audiobook publisher.

I know of very few narrators at any skill level who "just" narrate audiobooks. Many have other revenue streams including acting, voice over gigs, teaching, selling insurance, lawyering.... As little or as much money as you may make in audiobook narrating, I might suggest that you not quit your day job :-)

Go the F*ck to Sleep

2011-11-22T03:45:00.000-08:00

Go the F*ck to Sleep

by Alan Mansbach

narrated by Samuel L. Jackson

Ⓟ 2011, Audible, Inc.

6 minutes

In general, there seem to be two types of parenting models when either of the parents are engaged with their child or children:

The first model, involves bringing the child into the parent's or parents' orbit. The parents bring the child along on their errands and outings. Example: Dad has Little Mary for the day. He takes her to Home Depot, The Guitar Center, to the car wash. He lets her punch in the four-digit security code when checking out items and paying with a debit card. Or maybe Mom brings Junior along on the grocery shopping trip, to the veterinarian's office or the library to pick up some holds. She lets Junior scan the library books. The parent is involving the child in the parent's routines, showing him or her how things are done in the grown up world.

The second model is child-centric. The parent or parents are pulled into the child's orbit. The day's activities focus on the child. Example: Mom takes Little Mary to Little Mary's favorite playground, takes Little Mary out to lunch at McDonald's because the Happy Meal premium is a Little Pet Shop Toy or, takes Little Mary to the bookstore to buy the next title in the The Tiara Club series. Or maybe Dad attends all of Juniors football practices, teaches his son how to cast a perfect fly or, they build a bird house together. The parent sublimates his egocentric goals to the interest of the child.

Go the F*ck to Sleep appeals strongly to the parent who holds to the first model, a person who is trying to fit parenthood into his/her schedule rather than the other way around. In an effort to watch a grown-up movie, the father (in the story) tries to get his child to bed and asleep. His frustration mounts and, profanity in storybook verse ensues.

Samuel L. Jackson, famous for his expletive-rich vocabulary, narrated the audio edition of Go the F*ck to Sleep. He delivers the irritation of the story's disgruntled father well, tip-toing on the edge of resentment without actually going there. Samuel L. Jackson is a strong personality for the book, bringing his bad-ass reputation with him and, the question as to how this no-nonsense figure would let things go this far; but there it is :-)

Other stuff: I dnloaded Go te F*ck to Sleep from audible.com.

I receive no goods or services in exchange for reviewing this product, mentioning any of the persons or companies that may be named or implied in this post (including but not limited to the audiobook publisher, the vendor from which I purchased the audiobook, author, narrator and/or, the hosts of any challenges that this title may qualify for) or, the challenges for which this title may qualify.

The Pink Chair: Q3: Per year, the number of books a narrator submits is: ▢ fewer than 10 ▢ greater than ten (on average)

2011-11-21T00:01:00.000-08:00

A few weeks ago, I received a letter of inquiry from a potential narrator. It contained four questions that the person wanted answered:

1. A narrator is paid by the: ▢ hour ▢ page ▢ book ▢ other
2. A quota is imposed upon the narrator: ▢ true ▢ false
3. Per year, the number of books a narrator submits is:
▢ fewer than 10 ▢ greater than ten (on average)
4. A good narrator can expect an annual income of:
$ __________

Today let's look at question three:

3. Per year, the number of books a narrator submits is:

☑ fewer than 10 ☑greater than ten (on average)

That's right, the answer is both! But before we get to the explanation, we need to go back to the idea of the quota which seems to underpin this question (reference the word "submits.") There is no narrator factory of people churning out titles to meet a quota. Books are cast, meaning that the casting director looks at the book and determines who might be the best candidate(s) for that title and then, either arranges for auditions or, contacts the narrator to check on the narrator's willingness and availability. If the casting director has six Amish Romance novels on his desk, chances are that s/he is not going to be calling a British male narrator to get them done. The casting of an audiobook is primarily based on the appropriateness of narrator's voice for the book at hand; not on producing six titles per se.

It's also a mistake to tie the idea of narrator excellence to the number of books that s/he read in any given year. Scott Brick, Grover Gardner and, Simon Vance have each recorded more than ten titles in 2011; but Jim Dale, Anthony Heald and Kevin Kenerly have narrated less than ten in 2011. There are also a lot of sucky narrators (who I am NOT going to name - and please if you're a narrator reading this and you don't see your name mentioned, that does NOT mean I think you're sucky! Or maybe it does... Anyway... ) that seem to getting work as well. Any number of factors drives the number of titles that they produce for any audiobook publisher, including but not limited to:

appropriateness of voice to the material
narrator availability
narrator willingness
author/publisher approval
narrator/studio cost

So yeah, more than ten? less than ten? It all depends on the books and the narrators.

Next week on The Pink Chair :

4. A good narrator can expect an annual income of:

$ __________

"Please, sir, I want some more."

The Pink Chair: Q2: A quota is imposed on a narrator: ▢ True ▢ False

2011-11-13T15:24:00.000-08:00

A few weeks ago, I received a letter of inquiry from a potential narrator. It contained four questions that the person wanted answered:

1. A narrator is paid by the: ▢ hour ▢ page ▢ book ▢ other
2. A quota is imposed upon the narrator: ▢ true ▢ false
3. Per year, the number of books a narrator submits is:
▢ fewer than 10 ▢ greater than ten (on average)
4. A good narrator can expect an annual income of:
$ __________

Question one was answered last week; and now we move on to tackle question two:

A quota is imposed on a narrator: ▢ True ☑ False

The answer is "False": To the best of my knowledge, no audiobook company imposes a quota upon a narrator in terms of books submitted. In fifteen years, I've never heard of a publisher requiring x number of books from any of their narrators; So when I read the question the first time, my reaction was puzzlement. I also happened to have briefly entertained visions of myself on board a slave galley ship with a megaphone and whip in hand, yelling "READ!" to a bunch of narrators furiously reading while seated on benches, while a big drum sounded out a beat in the background... :-)

But do audiobook publishers impose other kinds of quotas? I heard that one audiobook publisher required it's potential narrators to have narrated x number of audio books for other companies; and to have earned x number of Earphone Awards; but looking at their roster online, it's clear that if that was ever true, it's certainly not now.

An imposed quota implies that it is the narrator's responsibility to draw assignments and complete them. In reality, the studio director casts the audio book and checks to see if a narrator is willing and able.

Can a narrator narrate too many books for an audiobook publisher? Yes. When a name appears with too much frequency in a catalog, it signals to customers, librarians and others a lack of diversity in the talent pool, a lack of casting creativity and/or suspicions that the audiobook publisher can't get anyone else.

On the other hand, if you put ourself out there as a narrator; but keep turning down assignments for whatever reason, then the probability of you being called again is negligible.

READ, SPARTACUS, READ!

UPDATE: As le0pard13 pointed out, this is actually Ben-Hur, NOT Spartacus;

but you know what? From where I'm standing on deck,

"READ, SPARTACUS, READ!" sounds better than "READ, BEN-HUR, READ!"

I dunno why, maybe it's the /t/ and /k/ sounds, more aggressive somehow

Anyway, I'm keepin' it :-)

Next week on The Pink Chair:

Q3. Per year, the number of books a narrator submits is:

▢ fewer than 10 ▢ greater than ten (on average)

A Drink Before the War

2011-11-08T00:01:00.000-08:00

A Drink Before the War

First in the Kenzie/Gennaro series

by Dennis Lehane

narrated by Joanathan Davis

Ⓟ 2011, Harper Audio

8.8 hours

Patrick Kenzie, and by extension his partner, Angela Gennaro, are private detectives hired to retrieve documents stolen from a state senator's office. Except that the documents aren't really documents and, what these "documents" are and why they are important, provide the link to a story which highlights a Boston beyond what tourists see: Racial tensions, extreme economic disparity within blocks and, political corruption. Dennis Lehane has written a hard, truthful story about a city, about a culture within the context of a fictional thriller. Black vs White racial tensions are the biggest axe that Lehane grinds in A Drink Before the War. The politicians are white, the cleaning lady is black; blue collar workers hole up in dives in black neighborhoods and, count the number of black players on opposing football teams on TV; the gang wars are drawn along geo-racial lines: the blacks of The Bury (Roxbury) and the white kids of Dorchester; even a newscasting team on television consisting of a white newsman and a black newswoman, show up the racial lines drawn in the racist city. The economic inequality is played out across the neighborhoods in and around Boston: An obsequious doorman pulls open the doors to posh restaurants and hotels and, Copley Square is a testament to the gaudy splendors of the monied; but in Dorchester, the the lower middle class watches as the dual forces of gentrification and urban decay obliterate their homes into the dust and; in Roxbury, the tenements and sagging homes fall prey to entropy. The environments do not encourage correlative levels of crime, only better cover for the crimes in the better neighborhoods. The dome of the capitol, it turns out, provides better protection against punishment than the streets of Roxbury. Lehane's key protagonist, Patrick Kenzie, has the self awareness to recognize how the city has informed him and; despite his attempts to rise above his circumstances, the scars of his past are ever-present both literally and figuratively. Kenzie's internal struggle to identify his moral dilemmas and excoriate his ghosts add dimension to a character that could all too easily been rendered a mere action figure.

Jonathan Davis gives a solid, nearly neutral and careful reading of the text. He gives the story a very light, somewhat Ben Affleckian Boston accent, and affects an appropriate Irish accent to the equally affected state senator with a deliberate and near comic manner. A light Boston accent is better than a bad Boston accent; but there are inherent risks in that approach because authenticity is sacrificed. Davis slows his meter down to create an illusion of a deepened register for the black characters, but the street cadence is missing. We always know who's talking; but all the voices are slightly "off" either in measure or in idiom. One also has to wonder if Davis has a sense of humor in the literary or narrative sense: Some lines could have benefited from a quicker, more ironic delivery.

Recommendation: For those who like grittier fare a la Adrian McKinty (The Dead Trilogy: Dead I Well May Be; The Dead Yard and, The Bloomsbury Dead; or Richard Price (Lush Life.)

Other Stuff: I received a digital dnload copy from Harper Audio for review purposes.

Also, it turns out that the narrator is the nephew of a consultant for the company I work for. This fact did not inform my review on any conscious level.

This book qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. A Drink Before the War takes place in Dorchester and Boston, Massachusetts.

View dogearedcopy map 2011 in a larger map

The Pink Chair: Q1. A narrator is paid by the: ▢ hour ▢ page ▢ book ▢ other

2011-11-06T10:04:00.000-08:00

A couple of weeks ago, a letter of inquiry from a potential narrator crossed my desk. This letter was unique in that it did not include a resume or curriculum vitae or, a sample of the candidate's works or, even a link to the person's web-site. Instead, it was a hand written letter that contained four questions that the candidate wanted to have answered before s/he took the the time to create a demo:

1. A narrator is paid by the: ▢ hour ▢ page ▢ book ▢ other
2. A quota is imposed upon a narrator: ▢ true ▢ false
3. Per year, the number of books a narrator submits is:
▢ fewer than 10 ▢ greater than 10 (on average)
4. A good narrator can expect an annual income of:
$__________

I'll admit that when I first read the letter, I... :

Ⓐ Rolled by eyes and had a head-desk moment
Ⓑ Wanted to have it framed for the elegant simplicity of it
Ⓒ Wanted to write snarky comments to all the questions
Ⓓ Actually sit down and answer each question in earnest
Ⓔ All of the above, simultaneously, which caused my brain to nearly implode

And the answer is Ⓔ; but I have decided to go with Ⓓ! Now, there is an outside chance that someone is pulling my leg; but I think not and so, I'm going to answer these questions to the best of my ability this month, starting with Q1 today:

A narrator is paid by the: ☑ hour ▢ page ▢ book ☑ other

Many narrators are paid per finished hour. This means that the narrator gets paid his hourly rate times the length of the finished audiobook. If the narrator's fee is $200 per finished hour and the completed audiobook is ten hours long, then the narrator would earn $2000 for that book:

$NR x FH = $$$$

NR = Narrator Rate; FH = Finished Hour

There are some models out there wherein narrators are paid by studio hours. This means that the narrator would be paid for the time he or she actually spent in the studio to record the book. So, if it took the narrator 25 hours to record a ten hour book, and charged $200 per studio hour, then narrator would earn $5000 for that book:

$NR x SH = $$$$

NR = Narrator Rate; SH = Studio Hour

The studio hour model is not used with those who have home studios because there is no way to confirm how much time a narrator actually spends on recording a title at home.

You may have heard about revenue sharing or royalty sharing. This is a model wherein the narrator basically works on spec, earning no fees for his work. If the audiobook sells, then the narrator gets a percentage of the sales. Iambik, Steerforth Press and Crossroads Press are three audiobook companies that offer revenue sharing agreements and, audible.com's ACX program offers a royalty sharing option. There's no universal or industry equation for this model as it depends on the company; but if I were a snarky person I might put out something like:

(((GS - DT)/50%)/7) !@#$ = $0

You don't really need to know what all the variables mean, just that the number on the right hand side equals zero

Now, I have been told that there are a couple of success stories as far as rShare is concerned; but I haven't met them yet and quite frankly I have my doubts. What I am hearing is that it's not really working out for the narrators and that the rShare publishers are still working on it to make it work. We'll see. rShare has it's champions and we'll talk more about it in a future post. (For more about a narrator's experience with ACX, check out Johnny Heller's blog, Abbreviated Audio: FOR THE HELL OF IT: Special Edition: ACX and Me)

There is one other model for payment that I've come across and that is the straight fee or flat fee. The narrator, usually a celebrity, is paid a set fee for a title or a series and, can run anywhere from four to seven figures:

$FF

FF = Flat Fee

On the other end of the flat fee spectrum, a narrator can be paid to come in to do some piecework. Piecework can be a narrator coming in to re-read a section that has been re-written since the last final was submitted or; marginalia or title work or, even end scripts. These fees are usually a couple of hundred dollars and are comparable to an honorarium paid to guests on late night talk shows:

$ff

ff = flat fee

So basically, it comes down to this:

A narrator is paid by the: ☑ finished hour ☑ studio hour ☑ rShare ☑ flat fee

Welcome to the 1099 world, my friend :-)

Next week on The Pink Chair:

Q2. A quota is imposed upon a narrator: ▢ true ▢ false

Frankenstein

2011-11-04T05:04:00.000-07:00

Frankenstein, or The Modern Prometheus

by Mary Shelley

narrated by Simon Vance

Ⓟ 2008, Tantor Audio

8.50 hours

For those who have not read the novel and only been subjected to film versions, it's "nothing" like the movies. The doctor, not the monster, is named Frankenstein and, the monster fully develops as a sentient being, not as a green, square-headed zombie with bolts stuck in the side of his head! The story is heavily influenced by Milton's Paradise Lost and some radical social theory at the time, something along the lines that a man's nature is most profoundly influenced in reaction to his societal upbringing, an earlier version of "it takes a village."

Many, many years ago, a friend in college, for whom this was his favorite book, lent me his copy. I read it and was moved to tears by the monster's plight and could not help but feel that my friend identified with the monster. By extension, I felt that I understood my friend better. I returned the book; but always meant to come back to it. Flash forward many, many years later and I've settled down to re-read this Classic. I was absolutely bemused that I did not recognize the story at all! Not only was the story coming across as completely new-to-me, I had no sympathy for the monster whatsoever! I have to admit I didn't like the novel as much this time around, but that may be my inner existentialist reacting against the moral equivocation about responsibility for one's own actions. I've come back to Frankenstein again in hopes of rediscovering what its was that appealed to me the first time I experienced it.

Frankenstein is a book that definitely bears rereading. There are multiple layers and approaches to take to the story: literally, emotionally, philosophically and metaphorically. On the basic linear narrative level, it is the story of Victor Frankenstein, a young ambitious man who leaves home and pursues his studies in Ingolstadt, Germany. His interests lie in the life sciences and his passion leads him to the secret of reanimating dead flesh into a living, sentient being. Mary Shelley, pulls the reader into the sympathies of both Frankenstein and his unnamed creature by creating pathos- and angst-ridden first person narratives into the story for both characters. Philosophically, there's plenty of material to vet: theism, existentialism, free will, fate vs destiny, Nature vs Nurture... The author makes several allusions to Milton's Paradise Lost; but comparisons to Dante's Inferno from The Divine Comedy are equally obvious and relevant. Milton's and Dante's works deal with the fall from divine grace and the soul's state of disgrace and, like Milton's and Dante's works, the listener cannot help but wonder if the story of Frankenstein is also a reflection of an interior journey.

Simon Vance narrates the Tantor edition of Frankenstein. His consummate skill with character-work comes to the fore and, bears an uncanny resemblance to his voices for The Millennuim Trilogy :-)

Other Stuff: I do not recall what edition or publisher produced the copy that my friend lent me. I only recall that it was a mass market paperback with a black cover and a small rectangular picture inset on the front. I want to say it was a Signet Classic; but I'm not sure.

I purchased a Barnes & Noble Classics edition copy from the Barnes & Noble store in Medford, OR in 2009.

I dnloaded a copy of Frankenstein (narrated by Simon Vance) from the Audiobook Community's SYNC YA program in 2010.

The Nightmare (by Henry Fuseli)

Psycho

2011-11-03T07:00:00.000-07:00

Psycho

by Robert Bloch

narrated by Paul Michael Garcia

Ⓟ 2009, Blackstone Audio, Inc.

5.35 hours

Norman Bates and his mother run the Bates Motel, located off of the old highway; Mary, a young woman on the run, makes a wrong turn and decides to check in at the motel for the night and; Sam and Lila, Mary's fiancé and sister respectively, wonder where Mary is... Against the backdrop of a stormy night at the ill-frequented motel in California, the drama of Psycho begins to unfold. More than a horror classic with the Hollywood image of blood swirling down a drain accompanied by a piercing sound effect, the novel is an exposition of the psychological motivations of the characters that determine their actions. It would be enough to tell the story with just action sequences, but Bloch takes advantage of the written medium to explore the psyches of his characters and, puts forward the idea that that everyone has a breaking point at which we are all capable of insane acts.

There is a certain awkwardness to the original story, a dated feel beyond the fact that there are no computers or cell phones. There are cultural assumptions that need to be made, such as: In the 1950's, motel clerks care where you're going if you're not in your room :-/ Beyond that though, even the psychology used is outmoded. There have been enormous strides in psychology and medicine that have taken place in the last fifty years or so, which makes the interior voices of Psycho seem rather quaint by today's standards. However, the overall idea posited that the potential energy of insanity within each of us exists and can be triggered, remains valid and interesting.

Paul Michael Garcia imbues the text with the naturalness of a storyteller and, the character work is excellent. The result is an intimate reading of the text that engages the listener's attention. The best character work is the kind that makes the listener wonder if there's more than one person narrated the book and, this happens in particular in the scenes with the sheriff and his deputies :-)

Other Stuff: I borrowed a library CD edition of Psycho from Blackstone Audio, Inc.

This book qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. Psycho takes place in Lakeview, California.

View dogearedcopy map 2011 in a larger map

"You can check out any time you like, but you can never leave!"

Hotel California, The Eagles

Wrap Up: Murder, Monsters, Mayhem

2011-11-01T05:59:00.000-07:00

It's November 1, The Day of the Dead and; the end of Murder, Monsters, Mayhem for 2011. The feature, hosted by Jennifer L. at www.jennsbookshelves.com, ran for the month of October and featured a number of bloggers posting reviews about any and all things horror related. It's been a great experience, having discovered a number of print, audio and graphic novel titles that I've added to my wish list and, the opportunity to try something new: reviewing graphic novels! It turns out, that I really groove on it and plan on doing more :-)

There were a couple things that didn't work out for me this year: I had wanted to develop a couple of informal essays about Shirley Jackson; about the movies adapted from Richard Matheson's I am Legend; about the origin of the werewolf tradition... I had wanted to write movie reviews about Dawn of the Dead, Psycho and, Carrie and there are a couple of audiobook reviews still outstanding: Psycho and Frankenstein; but quite simply, life got in the way. That said, I'll be working on ways to improve my productivity for next year's Mx3! Yes! I'm already planning for next year!

My contributions for Murder, Monsters, Mayhem for 2011:

Zombies:

Countdown by Jonathan Mayberry; narrated by Ray Porter [Audiobook Review]
Patient Zero by Jonathan Mayberry; narrated by Ray Porter [Audiobook Review]
Zero Tolerance by Jonathan Mayberry; narrated by Ray Porter [Audiobook Review]

Murder Mysteries:

Hercule Poirot Mysteries 1-4 by Agatha Christie [Audiobook and Print Mini Op-Ed Reviews]
The Mysterious Affair at Styles by Agatha Christie; narrated by Nadia May [Discussion Responses]
Crooked Letter, Crooked Letter by Tom Franklin; narrated by Kevin Kenerly [Audiobook Review]

More Zombies:

The Walking Dead: Volume 1: Days Gone Bye by Robert Kirkman , Tony Moore et al [Graphic Novel Review]
The Walking Dead: Volume 2: Miles Behind Us by Robert Kirkman et al [Graphic Novel Review]
The Walking Dead: Volume 3: Safety Behind Bars by Robert Kirkman et al [Graphic Novel Review]

Werewolves and Disturbed Humans:

Shiver by Maggie Stiefvater; narrated by Jenna Lamia and David LeDoux [Audiobook Review]
We Have Always Lived in the Castle by Shirley Jackson; narrated by Bernadette Dunne [Audiobook Review]
Carrie by Stephen King; narrated by Sissy Spacek [Audiobook Review]

Thanks again to Jennifer L. at jennsbookshelves.com for hosting this feature :-)

Carrie

2011-10-27T00:01:00.000-07:00

Carrie

by Stephen King

narrated by Sissy Spacek

Ⓟ 2005, Simon and Schuster/Audioworks (Retail) and Recorded Books (Library)

7.5 hours

The eponymous protagonist of Carrie is a teenage girl with some serious issues regarding her relationship with her mother and, bullying at school (LOL, How's that for understatement!) Carrie's mother is a religious zealot of the most extreme and fundamental kind: mentally debilitated and only able to find recourse in biblical literalism. This creates an isolated home culture in which Carrie is reared, untutored in the norms of societal living and, much less in the nuances of personal relationships. Sheltered and ignorant, Carrie is left at the mercy of her classmates and; throughout the years, she is subjected to peer cruelty and ostracism. The situation comes to a head when Carrie officially becomes a woman, unfortunately while she is showering at the high school gym. The incident sparks an ugly reaction of taunting and assault by her classmates and, Carrie starts to stress out. The home front provides no answers or succor to her problems, indeed the strain on Carrie increases as her mother inflates the religious fervor to insane dimensions. How Carrie deals with this situation, using her latent power, is the stuff of Stephen King's horror classic.

Sissy Spacek, who starred in the 1976 movie which was based on the novel, narrated the audiobook. Owing to her familiarity with the character, a now iconic figure in the horror film genre, she is an obvious choice to read the book; however, there are some issues that, while they could be transcended in the film, could not be overlooked in the audio production. Ms Spacek slides some words around lazily in her mouth so that a word like "menstruation" becomes"menstration." This brings to the listener's attention that we have more of the coal miners daughter than we do a New England native from Down East. There is also a minor production issue of booth noise, specifically page turns and shuffling which distracts from the story. Overall though, Sissy Spacek tells the story well and that is no small mean feat.

Other Stuff: I borrowed a library Cd edition of Carrie from the Jackson County Library System in Southern Oregon.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. Carrie takes place in Chamberlain, Maine.

View dogearedcopy map 2011 in a larger map

We Have Always Lived in the Castle

2011-10-26T00:01:00.000-07:00

We Have Always Lived in the Castle

by Shirley Jackson

narrated by Bernadette Dunne

Ⓟ 2010, Blackstone Audio, Inc.

5.5 hours

Mary Katherine "Merricat" Blackwood, her sister, Constance and, their uncle, Julian live reclusively in the Blackwood family home. Exactly why this is so is the story's ostensible raison d'etre; but in realty the story showcases a number of recurrent themes in Shirley Jackson's writings that reveal the darker natures of ourselves, barely hidden by the thin veneer of daily life. Each of the Blackwoods adopts a tenuous hold on civilized life by narrowly defining their roles in the household. Merricat's quotidian routines involve heavily ritualized and superstitious behavior that enable her to function in and beyond the perimeter of the estate. Constance, a young woman in her early twenties, assumes the maternal role of cook, and caregiver to Uncle Julian; but she never goes beyond the garden borders. Uncle Julian, wheelchair-bound, spends his days writing and revising the family history, hung up on the chapter that fully explains what exactly happened that one night that lead to their present situation. Their neighbors in general, tease and bully Merricat; but don't actually touch or harm her. The listener realizes that there is something wrong , sensing the undercurrent of tragedy and the shadows of secrets among the Blackwoods. There is a tension built upon not knowing why the Blackwoods live such a circumscribed existence and, a certain anxiety as the listener watches the veneer being stripped away. And then there is the horror as the truth is revealed. To write unflinchingly of what is true is no task for the weak or for cowards; it is a task for masters such as Shirley Jackson. Ms Jackson wrote fiction and; wrote scenarios that defy credibility in a realistic context; but what she wrote of in terms of human psychology and dynamics is undeniably true and; there is the horror.

Bernadette Dunne narrates We Have Always Lived in the Castle perfectly. Her character voices reflect the artifice of their civilized lives, the calming and reassuring words and platitudes uttered to keep the monsters at bay, as well as the chaos as the story explodes into a night of terror. Dulcet tones, childlike simplicity and, good natured teasing are delivered with the artifice that each character warrants; but the dark creepiness is never far from the surface.

Other Stuff: I borrowed a library CD edition of We Have Always Lived in the Castle from the Blackstone Audio, Inc.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

Shiver

2011-10-24T00:01:00.000-07:00

Shiver

by Maggie Stiefvater

narrated by Jenna Lamia and David LeDoux

Ⓟ 2009, Scholastic Audio

10.75 hours

As a little girl, Grace is attacked by a wolf pack. She miraculously survives, carrying with her afterwards the memory of one wolf in particular. Afters years of spying the wolf in the woods at a distance, and developing a deep-felt passion for wolves' survival as a whole, Grace and the wolf finally edge closer; And then Grace meets Sam, with his intense yellow eyes...

Shiver is a love story about a girl and her dog. Okay, not her dog, but a boy who happens to be a werewolf. And they are both teenagers, which means plenty of angst and earnestness expressed by words spoken, words unspoken, song lyrics and meaningful looks. The story recalls all the adolescent fervor in which everything is a matter of life and death. Of course, in this modern fairy tale, this is quite literally true. There is the obvious body count as victims of wolf attacks appear; but there is also the slide away from human life into a final change into the lupine form after years of lycanthropy. The whorl of emotions and the immediacy of the pace recall the classic story of star-crossed lovers, Romeo and Juliet. Like R&J, the drama of Shiver plays out between the principals, young lovers who determine their own fates, driven by the force of their own feelings. Their worlds devolve around them, relegating others to the roles of supporting characters and; the reader becomes mesmerized by the ephemeral nature of each moment between the the two paramours.

Jenna Lamia and David LeDoux are the narrators of Shiver, reading passages from their characters' respective points of view as Grace and Sam. Each voices their character with the all the whiny pathos the characters warrant. At times, David LeDoux sounds a bit more experienced than an eighteen-year old should; but overall Jenna Lamia and David LeDoux strike all the right notes, recalling what it was like to be young and in love and; trying to take control in the maelstrom of their lives.

Other Stuff: I dnloaded Shiver from Audiobook Community's SYNC YA program this past summer (2011.)

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com.

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. Shiver takes place in Mercy Falls, Minnesota.

View dogearedcopy map 2011 in a larger map

The Walking Dead: Volume 3: Safety Behind Bars

2011-10-17T10:30:00.000-07:00

The Walking Dead: Volume 3: Safety Behind Bars

by Robert Kirkman (creator, writer, letterer);

Charlie Adlard (penciler, inker)

Cliff Rathburn (gray tones);

Tony Moore (cover)

Image Comics

The Walking Dead: Volume 1: Days Gone Bye

The Walking Dead: Volume 2: Miles Behind Us

The Walking Dead: Volume 3: Safety Behind Bars

In "Days Gone Bye," Rick Grimes wakes up from a coma in a hospital. The choice of physical incapacity is interesting as it can be construed as a type of death. In a comatose state, the patient has lost his will, his motor co-ordination, his consciousness and, is not unlike a zombie (generally classified as among the dead category) who shuffles instinctively and displays no consciousness or awareness. But Rick Grimes is not dead and, not a zombie because an external power has been exerted to save him. Medical technology kept Rick Grimes from falling into a true death. There are many different kinds of death displayed through the volumes thus far, but it is the power over death that compels our attention to the panels in "Days Gone Bye," "Miles Behind Us" and, especially in "Safety Behind Bars." From the immediacy of Rick's individual and initial quest (buzzing for the nurse) to the larger communal effort to survive, man's struggle against the inevitable is defined as his attempts to control it!

The zombies are the most obvious dead forms in The Walking Dead volumes. For the shuffling forms the most direct way of rendering them absolutely inert is to smash their brains. In "Miles Behind Us," we see some zombies detained in a barn in the hopes that there might be a way to cure them. In "Safety Behind Bars," we see an attempt to reason with a newly turned zombie in the hopes that there may be a way to save the former human. Whether by hammer, blade or gunshot, once the threatening forms are rendered truly dead, they are burned. Just in case.

For the humans in the Walking Dead volumes so far, we've seen some take death into their own hands. In "Days Gone Bye" we see one character ask to be left to die and turn zombie so that he might join his zombified loved ones. In "Miles Behind Us," a character, in his grief, puts a gun to his head. In "Safety Behind Bars," we see a couple commit to a suicide pact so that they can be together forever :-/ In the suicide scenarios, each hopes to control the manner of their own demise, not realizing it's not something you can really control in a world in which death is elastic.

We also see death meted out between men in self defense, whether the threat is imminent or actualized; as a matter of vengeance and, as a matter of punishment. As tricky as killing zombies may be (what if there is a shred of humanity buried within the corpse forms?), the matter of death between the conscious ones is definitely messy. In "Days Gone Bye," the power of death is given to a seven-year old boy who is then placed into a situation of imminent, but not actualized, threat. The boy acts instinctively, and perhaps correctly; but not without repercussions. After all, shooting a man is not the same as shooting a deer or a zombie.

In "Miles Behind Us" and in "Safety Behind Bars" adults react to an actual threat of invasion by pulling guns on the newcomers. Harkening back to the "Miles Behind Us" post wherein I posit that every one wants to belong someone, somewhere, this tension seems paradoxical. And yet, the instinct to define the pack, and thin the herd of threats is a key to survival.

In "Safety Behind Bars," we see human-on-human lethal violence at fervor pitch. There is a death committed as an act of vengeance. The act is committed with bare hands in a strangle-hold upon the victim. Without premeditation, but tantamount to murder, this death is seen as justified; but nonetheless covered up - ostensibly to eliminate misunderstanding. Or perhaps to avoid creating a morally grayer area where death is concerned. As if the survivors weren't already dealing with the complexity of zombie deaths :-/

We also see death via beheading committed by the hands of a (possibly) criminally insane character. Though premeditated, can the perpetrator be considered accountable for his actions owing to his mental instability? Is he truly insane? Does the horror of his deeds outweigh such consideration? And finally, there is the mandated capital punishment, death by hanging, decreed at one point. Does one person have the right to order an execution? Does a majority vote justify the decision? And again, does the heinousness of the crime override the moral equivocation of such a decision?

Death is enabled through bites, guns, knives, hammers and rope; but death is actualized by man's will. There is not a little irony that, in order to survive, the survivors must kill.

Artwork: "Days Gone Bye," cover and content, was primarily drawn by Tony Moore ; but his contribution is limited to the covers for "Miles Behind Us" and "Safety Behind Bars." In volumes two and three we can see a consistent aesthetic applied: more detail to the characters' faces, better application of gray tones for compositional balance and; a heavier, bolder use of black ink. To demonstrate the differences, I've photographed three panels of the same character in the same mood: Lori Grimes, mad. The top panel is from "Days Gone Bye;" the bottom left panel is from "Miles Behind Us" and the bottom right panel is from "Safety Behind Bars."

Other Stuff: I purchased The Walking Dead: Volume 2: Miles Behind Us from Barnes & Noble in Medford, OR

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

This book also qualifies for the What's in Name? Challenge #4 hosted at BethFishreads. The Walking Dead: Volume 3: Safety Behind Bars is an audiobook with [travel] in the title, "Walking."

The Walking Dead: Volume 2: Miles Behind Us

2011-10-15T22:40:00.000-07:00

The Walking Dead: Volume 2: Miles Behind Us

by Robert Kirkman (creator, writer, letterer);

Charlie Adlard (penciler, inker);

Cliff Rathburn (gray tones);

Tony Moore (cover)

Image Comics

In The Walking Dead: Volume 1: Days Gone Bye, the reader is introduced to Rick Grimes, as he wakes up from a coma in a hospital. He is by himself and immediately rings for assistance from the nurse and, then he goes in search of his home and family. He is alone and he reaches out to make a connection. In the Walking Dead: Volume 2: Miles Behind Us, we see an extension of that first intuitive search for the other.

Everybody wants to belong to someone, somewhere. This theme is developed on three levels in "Miles Behind Us:" on the personal level, on the group level and, on a physical or real estate level. We see personal relationships develop within the small band of survivors moving on from their encampment outside of Atlanta, GA. Despite their disparate backgrounds and, the more tentative the odds of making a connection, the more tenacious the effort to establish an intimate relationship becomes. This goes beyond the group dynamics that need to be hammered out in ordered to survive; it is human nature. More importantly, it is non-zombie nature. While the zombies roam the landscape and will swarm their prey, there is no indication that they have developed any sort of societal bond, even at a pack level. There is no evidence that they recognize one another individually, much less that they can develop one-one-one relationships. But with Rick and the survivors, we see a range of personal relationships: Rick and his wife keep their marriage intact; two seven-year olds flirt; a May-December relationship buds; two teenagers declare their eternal love; two characters "fuck" because they are lonely; two other characters look like they're hooking up out of genuine chemistry... There are a lot "I love you"s in this volume!

With every relationship started however, the group dynamic changes. Perhaps it is the herd instinct that asserts itself and compels them to think there is safety in numbers; but subjugating the individual interests to the group's good is a struggle of identity on one hand; but a recognition that even though you can't depend on anyone else, you also can't do it (survive) alone. The closeness of life in the RV they have been operating out of is too much; but then again, when the opportunity presents itself to live at the abandoned Wiltshire Estates, they want to remain neighbors. When circumstances bring them to the farmstead of Hershel Greene, Rick's group presumes integration into the household as a matter of due course and Lori is outraged when she encounters resistance.

There is a strong tradition of individuals identifying strongly with physical land. In English culture, the Earls and Dukes and such are often referred to by the names of their estates. In Rebecca (by Daphne DuMaurier) we see the strong correlation between Manderley and its master. In "Miles Behind Us," Rick and the survivors seek more than a secured shelter. If that were not true, they could keep trekking across the landscape in the RV; but they want to settle down in homes with yards; in a place where they can be neighbors (Wiltshire Estates) or even work collectively toward a greater community (the farmstead.)

Against the odds and despite the risks, people reach out to each other and attempt to build communities. It's a matter of both survival and desire.

The artwork in this volume contains less of the exaggerated features found in "Days Gone By," though the black & white panels still depend on compositional values such has balance, clarity and perspective and; when they are lacking create confusion as to the action taking place. The scenes where couples kiss or are rendered hard-edged and unsexy, belying the established mood. Worse, you can't discern whether the couples are kissing or attacking each other :-/ Again, in a couple of action panels (e.g. the zombie battle at the barn) the lack of contrast and/or perspective creates questions as to who or what is happening. Finally, the distinction between Lori and Maggie is too fine. Both characters have black hair and wear plaid at one point, making easy recognition difficult.

The artwork is better than in "Days Gone Bye," though the ideas expressed in them are often more sophisticated than the medium itself.

Other Stuff: I purchased The Walking Dead: Volume 2: Miles Behind Us from More Fun, a comic book store in Ashland, OR.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

This book also qualifies for the What's in Name? Challenge #4 hosted at BethFishreads. The Walking Dead: Volume 2: Miles Behind Us is an audiobook with [travel] in the title, "Walking."

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. The Walking Dead: Volume 1: Days Gone Bye starts out on the outskirts of Atlanta, Georgia.

View dogearedcopy map 2011 in a larger map

The Walking Dead: Volume 1: Days Gone Bye

2011-10-15T19:17:00.000-07:00

The Walking Dead: Volume 1: Days Gone Bye

by Robert Kirkman (creator, writer, letterer);

Tony Moore (penciler, inker, gray tones);

Cliff Rathburn (additional gray tones)

Image Comics

There are zombies on the cover of The Walking Dead: Volume 1: Days Gone Bye and; there are zombies inside the graphic novel; but this isn't really a zombie tale so much as it's a survival tale. In "Days Gone Bye," the focus is on the human element whereas the zombies are incidental. Rick Grimes, a police officer shot in the line of duty, wakes up from a coma in the hospital. He wakes to an abandoned facility, town, home, and basically, life as he knew it. Something has happened and now the the landscape is littered with zombies, alive-dead and dead-dead. His first instinct is to retain his civilized sensibilities and to reinforce his identity as an authority figure. He makes his way to the police station, dons his spare uniform, metes out guns and ammo to the first survivors he meets, grants them the use of a police cruiser and admonishes them to keep an eye out on his place while he heads in to Atlanta, GA. Even as he exits Cynthiana, KY, there are subtle cracks in his civilized veneer. Eventually, Rick ends up in an encampment of people who tried to make for the safety of the city but were too late to make their way in. At camp, the need for food, clean clothes and, secure shelter takes precedent over the social ethics of their former lives. Various members of the group each try to retain their individuality while trying to adapt to a group dynamic.

Very little is discovered about the zombies in "Days Gone Bye." People die, they come back to an animated state, they bite people and the newly bitten become zombies in turn. The zombies here operate purely on an animal level of survival, apparently having the ability to smell and hear, all in the pursuit of something to eat. In "Days Gone Bye" the difference between the zombies and the survivors is clear, if only by degrees and speed. We'll see how long this lasts :-/

Excepting the cover, the artwork in "Days Gone Bye" is black-and-white. The survivors are drawn with near cartoonish qualities: outlines without a lot of facial subtleties, many wide-eyed expressions and near comical distortions of the mouth. The zombies are consistently drawn with more detail and realism. Go figure. Because the panels are b&w, the intergrety of the panels rests on the composition of the shots and ergo the gray tones or ink washes applied. Some are more difficult to execute than others (a scene around a campfire at night while snow falls vs a single head shot against a blank background) and Tony Moore and Cliff Rathburn met the challenges with varying degrees of success. A panel showing Rick and Glenn on a fire scape displays sophisticated layers and tones; but other scenes (e.g. Rick and Lori talking outside their tent) show an artless or naive talent. [I do not know either Tony Moore's nor Cliff Rathburn's work well enough individually to be able to assess the handiwork of either's effort, only the combined effect in this volume.] In a couple of panels, characters were difficult to distinguish from each other. In a long shot, two characters are speaking; but there is not enough detail to determine who and, in another panel, I had to look very closely across several pages and, by the process of elimination, figure out who was speaking.

The artwork isn't great; but In "Days Gone Bye" there is a lot of thought provoking material in regards to the concepts of identity, civilization and individual rights.

Other Stuff: I purchased The Walking Dead: Volume 1: Days Gone Bye from More Fun, a comic book store in Ashland, OR.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

This book also qualifies for the What's in Name? Challenge #4 hosted at BethFishreads. The Walking Dead: Volume 1: Days Gone Bye is an audiobook with [travel] in the title, "Walking."

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. The Walking Dead: Volume 1: Days Gone Bye starts out in Cynthiana, Kentucky.

View dogearedcopy map 2011 in a larger map

Flashback Friday: The Mysterious Affair at Styles

2011-10-14T00:01:00.000-07:00

The Mysterious Affair at Styles
By Agatha Christie
Narrated by Nadia May

Blackstone Audio. Inc.

6.8 hours

The Mysterious Affair at Styles is the first title in the Hercule Poirot series. The Belgian exile and former police detective is called upon to investigate the death of an elderly woman.

In March of 2009, the Yahoo! group, Sounds Like a Mystery (S.L.A.M.) discussed The Mysterious Affair at Styles. Because the discussion went forward on the premise that participants in the discussion had already listened to The Mysterious Affair at Styles, there are spoilers in the comments about characters and, I've marked out the passages below ("SPOILER ALERT" and "END SPOILER ALERT.") The following comments were drawn from the discussion (03/20-23/2009):

S.LA.M. Discussion Questions

• Did you like the book? Why? Why not?
I liked the book, but I made a serious mistake when I first approached it: I underestimated Agatha Christie. The last time I read AC was in high school (The ABC Murders and Murder on the Orient Express) and now I had thought her dated and perhaps even less-than- sophisticated! I was struck by the density of the cast list, the plot, the motives and the subterfuges. I anticipate returning to this book again and being able to appreciate it more with each re-reading or re-telling.

• How did you like the narrator?
As much as I love Nadia May, she was miscast for this book. The narrator is a 45 year-old Captain coming in from the Front. Despite Nadia May's versatility, there was no way to ignore that she wasn't a 45 year-old Captain coming in from the Front! There is a scene early on wherein Captain Hastings looks out the window to see Lawrence Cavendish walking with Cynthia Murdoch. In my mind's eye, I saw Miss Marple peering out the window! Later, as Captain Hastings expresses his crush on Mary Cavendish or even later, proposes to Cynthia Murdoch, it took me aback.

• Did anything grab your attention?
I've started playing a little game with the audiobooks I've been listening to this year: What common factor can be found within the last three audiobooks I've listened to? Right now, the last three books are The Mysterious Affair at Styles, Invisible Monsters (by Chuck Palahniuk; narrated by Anna Fields) and, The Gargoyle (by Andrew Davidson; narrated by Lincoln Hoppe.) It turns out that all three narrators in the novels are people who have been hospitalized. In The Gargoyle, the narrator is recovering from a car accident in which he suffers 3rd/4th degree burns. In Invisible Monsters, the narrator is recovering from a gunshot wound received while she was driving on a highway. In The Mysterious Affair at Styles, the narrator is on sick leave from the War, but we do not know exactly what it is he is recovering from! I found this interesting if only because one might expect that whatever illness or injury Captain Hastings was suffering from, one that merited a prolonged convalescent leave, would have some sort of impact, whether physical or mental, on his bearing.

Even though there is no precise date given as the time period for the book, I have to think it is somewhere near the onset of WWI and before the introduction of gas warfare, so between April 1914 and April 1916. I couldn't find a reference as to when paper usage limitations were being introduced into English life, but the mention of Belgian exiles also make me think it was probably 1914-15.

********** SPOILER ALERT **********

• Did you figure out “whodunit?”
After Mr. Inglethorpe had been cleared, I was totally at sea! I was overwhelmed with too much information and unable to even formulate a hypothesis. I knew the stamps and the timeline were important; but as to “how” I couldn’t ascertain. After a while, I stopped trying to figure it all out and just went along unquestioningly. Even after having it all explained (“Poirot Explains”) I felt bemused. Were I to read the title repeatedly, following a different thread each time or writing little notes in the margins, I would be able to parse it out better and make sense of it all. Maybe.

• Was there a twist that threw you? Was the plot believable?
The whole business with who was actually buying the strychnine while in disguise threw me. Owing to Dr. Bauerstein’s close physical resemblance to Alfred Inglethorpe, his knowledge as a toxicologist, and his seemingly personal interest in Mary Cavendish, he was the logical suspect and clearly the perfect red herring!

• Did other items in the story help or hinder the story?
Poirot "played" Evelyn Howard. I did not understand the psychology or reasoning behind this approach and those passages felt alien to the work itself.

• How did you feel about the main characters? Did you connect with the characters in the book?
At the beginning of the book, the number of characters was challenging. I actually listened to parts of the beginning a couple of times over so that the characters were clear in my mind. The most sympathetic character was Lawrence Cavendish, the image of the “watercolor” blond aristocrat and dilettante (cf Sebastien in Brideshead Revisited.) John Cavendish was the most pitiable by reason of his marriage and unrequited love. Captain Hastings was the least appealing. His intellectual vanities and limitations, coupled with his arrogance masquerading as reason, were off-putting. The character of Poirot himself was a little strange and was reminiscent of the-larger-than-life flamboyant Oscar Wilde (without the scandal.) Monk seems to be patterned somewhat after Poirot’s fastidiousness.

The characters were purposeless aristocrats. They couldn't be anything else! The time setting of the book is 1915-1916. England was fully committed to WWI and Belgian refugees were crossing the Channel (i.e. Hercule Poirot.) At the time, there was a belief in Social Darwinism, that the best and brightest in society would make the best and brightest officers, not realizing that modern warfare would render Social Darwinism moot. Entire hometown regions of men were wiped out in a few hours of battle time. Men who served together often came from the same hometown or classroom. Hence, entire graduating classes from Eton, Harrows, Oxford and Cambridge, disappeared overnight. It turned out that the machine gun fire, grenades and later, gas, were indiscriminating. Those who were left behind on the home front, were not the best and brightest. There were physical misfits, second sons and, the old (e.g. John Cavendish, Lawrence Cavendish, the Head Gardener.) The pre-destined roles they had expected to play were stripped away. They were also left with the wreckage of a society that had never served them well. Understandably, they were not so eager to re-constitute a social order based on primogeniture and entailed legacies. These runts of society were now expected to make shift within the wreckage of an eviscerated social order. They were keenly aware of their own shortcomings. The better of them tried to form and/or adapt to the new and ever-shifting paradigms of the Modern Age and find their place (e.g. John Cavendish asking Mary Cavendish if she loved Dr. Bauerstein, a totally irrelevant question ten years prior) and the lesser of men just tried to fade into the background and find some measure of personal contentment (e.g. Lawrence Cavendish scribbling away at his poetry and finally asking Cynthia Murdoch to marry him.) For all, the idea of "purpose" as they understood it (predestiny) had been abrogated and they were left to contend with fate.

WWI killed La Bell Epoque and its attendant Age of Romanticism. Mrs. Inglethorpe could be seen as a symbol of the Old Ways with her patronages and affection for opening charity bazaars. Neither she nor the Old Ways went quietly into the night! Both were poisoned, by strychnine and modern warfare respectively.

• Anyone or anything distract you in the story?
Everything was distracting! What was valuable information or evidence was difficult to thresh out.

• Did the book grab you emotionally?
The Mysterious Affair at Styles is not an emotionally provocative book nor even a particularly an emotionally engaging one. The “locked room” mystery was meant to be an intellectual challenge.

• Did you connect with the place? Do you feel like you have been or want to go there?
England during WWI? No, thank you.

• Did you get hooked? At some point did you have a hard time putting it down? What was the point?
“Hooked” may not be the appropriate word, but for lack of a better term, I was “hooked” after Mr. Inglethorpe had been cleared. I knew I wasn’t processing all the information correctly and so I was anticipating the parlor scene in hopes that all would be made clear to me. Now that the book is done, I feel compelled to go over it again so, in that way I’ve been “hooked” twice!

• What about the use of sex or violence in the story?
The sex and violence were very abstracted. The scandalous Mrs. Railkes and her activities are inferred but never spelled out. The exact nature of the relationship between Mary Cavendish and Dr. Bauerstein is never made explicit. As for the crime itself, while rather lurid, did not entail any scatological details or goriness. Poisoning is a rather passive or “feminine” method of homicide. Overall, this title ranks fairly low in terms of sex and violence. I would place it, as a cozy, in league with Crocodile on a Sandbank.

********** END SPOILER ALERT **********

• On a Scale from 1-5 (5 is best) or a Grade of F-A+, how would you rate this book?
I’m tentatively rating this title a “B.” If I actually do return to the book, I suspect it will go up in my estimation.

• Would you read other books in this series (if there are any)?
I’m willing to continue with the Hercule Poirot series, but I’d like to take some time with each book.

• Would you seek out other books by this narrator?
I recently cited Nadia May as my favorite female narrator. I based my assessment on her work on Zoe Heller’s What Was She Thinking? [Notes on a Scandal] and am looking forward to Barbara Tuchman’s The First Salute. As for this series, I think I would like to try either David Suchet or Hugh Fraser if I were to continue in the audio format.

Poirot - The Mysterious Affair at Styles

Directed by Ross Devenish

Starring David Suchet and Hugh Fraser

This DVD works as a great companion to the book as it serves to elucidate some of the points in the novel that are not clear from the writing (i.e. what a green armlet is, what a spill vase is and does); sets a specific time reference (June 1917) and therefore a context; fills in some back-story (Captain Hastings suffers from a leg injury) and; provides some other interesting and appropriate other material (the role-playing drills of people left behind on the home front, the nightmares of Hastings, the rumors of the American Expeditionary Force’s arrival.) The movie, however, collapses the time frame and, eliminates a major character (and therefore avoids the counting teacups business from the book; but does help clarify why Lawrence was staring at the mantelpiece as his mother was dying.) The book and the movie are great examples as to the possibilities and limitations of either medium.

GRADE: B

Other Stuff: I borrowed a library CD edition of the audiobook from Blackstone Audio, Inc. I rented the DVD of the movie from Netflix.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

Crooked Letter, Crooked Letter

2011-10-11T00:01:00.000-07:00

Crooked Letter, Crooked Letter

by Tom Franklin

narrated by Kevin Kenerly

Blackstone Audio, Inc.

9.5 hours

Larry Ott is a total loser: a weirdo, a loner and really, really creepy. Then his date "disappears" on him and, while no one can prove it, you just know he's guilty of something nasty. Thirty years later and another local girl disappears and everyone in the small town of Chabot, MS is out for blood. That the Stephen King-reading pervert is still breathing is an injustice...

But everything is not so black-and-white, either figuratively or literally. The concretized legend of Larry Ott is deconstructed, not though a basic linear narrative; but by peeling back the layers of time, attitudes and people to get at the truth. The keel of this story, the line upon which the narrative hangs, is the relationship between Larry Ott, a poor white trash mechanic and; Silas "32" Jones, a black deputy sheriff. Erstwhile childhood friends who allow racism and self interest to divide them, they are forced to confront themselves and each other after a thirty-year estrangement. Courage is required from both men to broker a difficult entente and confront the devil they don't know. This is not a traditional mystery in terms of structure or content. While a straightforward whodunit or police procedural might have been an easy way to tell the story; the sifting of fact from fiction in Chabot, MS is more realistically presented within the context of real time and people's morally complex natures.

Kevin Kenerly narrates Crooked Letter, Crooked Letter with an amazing facility for both white and black characters, and with rich vocal legacies for all. Whether it's the slow and easy cadence of "32," the relatively more nasal qualities of a redneck or, the emotional rhythms of 32's romantic interest, Tom Franklin's characters resonate from the page to the speakers with a lushness that reflects the heat of Mississippi and the tensions of the South.

Other Stuff: I borrowed a library edition CD from Blackstone Audio, Inc.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

This book qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. Crooked Letter, Crooked Letter is set in the fictional small rural town of Chabot, Mississippi.

View dogearedcopy map 2011 in a larger map

"But screw your courage to the sticking place,

And we'll not fail."

-- Lady Macbeth from "Macbeth," Act 1, Scene 7, lines 59-61; by William Shakespeare

Hercule Poirot Mysteries (1-4): Mini-Op-Ed Reviews

2011-10-10T00:01:00.000-07:00

The Mysterious Affair at Styles

First title in the Hercule Poirot Mystery series

by Agatha Christie

narrated by Nadia May

Blackstone Audio, Inc.

6.1 hours

I liked the book, but I made a serious mistake when I first approached it: I underestimated Agatha Christie. The last time I read Agatha Christie was in high school (The ABC Murders and Murder on the Orient Express) and now I had thought her dated and perhaps even less-than- sophisticated! I was struck by the density of the cast list, the plot, the motives and the subterfuges. I anticipate returning to this book again and being able to appreciate it more with each re-reading or re-telling.

As much as I love Nadia May, she was miscast for this book. The narrator is a 45 year-old male Captain coming in from the Front. Despite Nadia May's versatility, there was no way to ignore that she wasn't a 45 year-old male Captain coming in from the Front! There is a scene early on wherein Captain Hastings looks out the window to see Lawrence Cavendish walking with Cynthia Murdoch. In my mind's eye, I saw Miss Marple peering out the window! Later, as Captain Hastings expresses his crush on Mary Cavendish or even later, proposes to Cynthia Murdoch, it took me aback.

Other Stuff: I borrowed a library CD edition of this audiobook from Blackstone Audio, Inc.

Murder on the Links

Second title in the Hercule Poirot Mystery series

by Agatha Christie

Murder on the Links (second in the Hercule Poirot mystery series by Agatha Christie) - I'm not much for cozies in general, but I do like Agatha Christie and, the earlier Hercule Poirot novels are very nicely crafted. In this story, an Englishman living in France summons Poirot to Merlinville-sur-Mer in France. The Englishman, Paul Renaud, believes his life to life to be endangered. Poirot arrives in all due haste; but it is too late. Renaud's body is discovered on a golf course.... Silly me, I was half afraid that the book was going to contain arcane golfing terminology and I was going to have to ask DH about mashies and niblicks and such, but rest assured, there was nothing about golf in the story :-)

Other Stuff: I borrowed a copy of this book from The Jackson County Library System (Southern Oregon) in Medford, OR.

Poirot Investigates: Eleven Complete Mysteries

Third title in the Hercule Poirot Mystery series

by Agatha Christie

narrated by David Suchet

AudioGo

5.75 hours

Individually, I can't say much for the mysteries themselves. There wasn't enough information given in any of the stories to help the listener solve any of the whodunnits; but overall the stories provide nice background color for the characters of Poirot and Hastings. David Suchet, the actor who played Hercule Poirot in the BBC series, narrates. As to be expected, he was great at portraying Poirot and very good at the other male characters; but his women and Americans were truly awful.

Other stuff: I borrowed a CD copy of this audiobook from the Jackson County Library System (Southern Oregon.)

The Murder of Roger Ackroyd

Fourth in the Hercule Poirot Mystery series

by Agatha Christie

narrated by Robin Bailey

AudioGo

7.01 hours

Hastings has unapologetically disappeared from the the series! Poirot has retired to the countryside to garden; but the death of a local woman sets off a domino cascade of intrigue. We're not counting teacups (cf The Mysterious Affair at Styles); but we are to
keep watch on the time! Robin Bailey is spot on as the village doctor from whose point of view the story is told.

Other stuff: I borrowed a CD copy of this audiobook from the Jackson County Library System (Southern Oregon)

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

Social Injustice

2011-10-09T14:18:00.000-07:00

Reading Atiq Rahimi's works is like reading Scripture. Even in translation, there are fundamental truths that come to the fore with every reading. Last year I read Earth and Ashes (translated by Erdağ Göknar) and The Patience Stone (translated by Polly McLean) and this year I re-read both of these novels before reading A Thousand Rooms of Dreams and Fear (translated by Sarah Maguire and Yama Yari.) I went into these novels expecting to explore the idea of aggregated grief (as somewhat tortuously explained in a comma laden post about Earth & Ashes and; and perhaps better summarized in a year end wrap up) but came away with something completely different: An acute awareness of what social injustice really is. Social injustice is the ultimate in unfairness: To exact payment upon a person or people to their detriment, whether fiscally, physically or psychologically. How the payment is extracted is a matter of degree of cruelty and, perhaps a measure of man's innate evil; but that topic (evil) will have to wait for another post. For now, let's get back to the idea of Social Injustice. In Atiq Rahimi's novels we see this idea illustrated in the context of Afghani culture across the decades. In Earth and Ashes, we see Social Injustice as manifested in the ravages strafed upon civilians during war; In The Patience Stone we see the effects of Social Injustice upon a woman in a Muslim culture and; In A Thousand Rooms of Dream and Fear, we see civil and personal liberties stripped from an individual in an uncivil and impersonal situation. These are all big ideas brought into sharp focus by Rahimi's little novels.

To be aware of Social Injustice is one thing; to do something about it is yet another. How does one make things fair in an unfair world? It is not enough to complain about social iniquities or bring attention to them, the call to action must be answered. It's an overwhelming and even enervating idea. Bob Geldof organized Band-Aid to provide assistance to the starving people in Ethiopia. Jimmy Carter is close to eradicating the Guinea Worm in Africa. Bill Gates provides technical grants for schools. But what about the average Joe who doesn't have millions of dollars or political influence? Can one person truly make a difference? Maybe whoever is reading this can't save the world, a country, a peoples or any given demographic; but I think that if any one of us can help one person get through one night, one day, even one hour that they might not otherwise get through, then yes, one person can make a difference.

There are a lot of causes out there. Sometimes the sheer enormity of what is needed can be paralyzing. Sometimes I fell like I'm on a ledge of a tall skyscraper. From the ledge, I can see inside to the wealthy as they enjoy champagne, caviar and temperature controlled penthouses. I look down and I see how far I can fall. And it's terrifying. I can also see people hanging onto the ledge by their fingernails. Some of those people will refuse my hand, saying it's not my job to help them, that the rich must help them instead. Others will try and pull me down or; once I've helped them, push me aside with indifference as they try to crash inside the penthouse. But hopefully an extended hand might result in someone else joining me on the ledge and maybe even helping others.

With this in mind, I've starting reaching out from The Ledge. A few weeks ago, I became aware of a local effort to help feed the hungry. Where I live in Southern Oregon, unemployment, homeless and poverty levels are very high, usually hovering around twice the national and state levels; but there are also a lot of people who are willing and able to help and, their collective strength makes a big difference in the Rogue Valley. The Medford Food Project collects food from various communities, and then sorts and distributes the foods to other charities working locally. The way it works is this: The Medford Food Project delivers a reusable green bag to your door. You buy a non-perishable food or grocery item every week and; every eight weeks the green bag is picked up from your front door. Another reusable green bag is left at your door and the Neighborhood Co-Ordinators take the groceries to a sorting center from whence the food & stuff is sent to various food pantries and food banks. Yesterday, I set out my first green bag for collection. There wasn't a lot of stuff in the bag; but hopefully it was enough that someone, somewhere might be able to get through another meal, another dinner hour, maybe even another day. It's not much but it's a start.

Other Stuff: I probably purchased Earth and Ashes online from Barnes & Noble; I definitely purchased The Patience Stone online from Amazon.com, LLC and; A Thousand Rooms of Dream and Fear online from Barnes & Noble.

This post is a contribution to BethFishReads feature, Weekend Cooking. It's probably not what she had in mind when she set up the feature; but it is about food :-/

Zero Tolerance

2011-10-05T00:01:00.000-07:00

"Zero Tolerance"

by Jonathan Maberry

narrated by Ray Porter

Blackstone Audio, Inc.

.75 hours

What the hell did Sergeant Harper do? Pay Attention! Because what starts out to be another cinematically driven action-adventure episode in the Patient Zero canon, turns into something much subtler, only hinted at at the end of the full length novel. This elegantly constructed short story will have you drawing a sharp intake of breath as you realize what Maberry has done: taken the moral ambiguity from Patient Zero to a whole new level. "Zero Tolerance" is described as a sequel to the full length novel, a tying-up of loose ends; but that's arguable. Patient Zero ended and you could go on without feeling like you've missed anything if you didn't listen to this short; but don't. This is Maberry at his finest: concentrated in form and function.

Ray Porter is the narrator of the Patient Zero series and no one could do it better. Whether it's a whispered caress in the ear or the all out assault on a target, Ray Porter delivers the ful range of the characters', and the story's, voice.

Other Stuff: I borrowed a MP3-CD copy of Joe Ledger: The Missing Files from Blackstone Audio, Inc. There are five short stories in the collection: "Countdown" (precursor to the full-length novel, Patient Zero), "Zero Tolerance" (follow-up to Patient Zero), "Deep Dark"(prequel to the full-length novel, The Dragon Factory), "Dog Days"(follow-up to The Dragon Factory) and "Material Witness" (a crossover to The Pine Deep Trilogy.) I split up the mp3 files on the CD into the five groupings that made up each story; but each story is available separately as a digital dnload.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

This book also qualifies for the What's in Name? Challenge #4 hosted at BethFishreads.Patient Zero is an audiobook with a [number] in the title, "Zero."

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. Patient Zero is has scenes in Baltimore, Maryland.

View dogearedcopy map 2011 in a larger map

Patient Zero

2011-10-04T00:01:00.001-07:00

Patient Zero
by Jonathan Maberry
narrated by Ray Porter
Blackstone Audio, Inc.
14.75 hours

Patient Zero is the action-packed, high-octane thriller about Joe Ledger and his team of elite fighters who battle zombies and attempt to save the world! Jonathan Maberry combines mil-fic, action-adventure and horror in a cliche-ridden (but nonetheless effective) story of cinematic excess . Every bullet, jujutsu move and gaping maw is detailed in this novel about impacts: the impact of decisions made for monetary gain; the impact of causes motivated by religious fanaticism; the impact of a hollow point when it penetrates the skull; the impact of a hand chop to various body parts; the impact of having to bear witness to something so horrifying that it impacts your psyche; the deeper impact of having to do something so horrifying it impacts your very soul...

The facet of Joe's ego that he self-identifies as "The Warrior" dominates the story and the tone of the writing. There is absolutely nothing subtle about Maberry's writing and, in and of itself it is rather formulaic; but the formula works and, it is entertaining and fun.

There is plenty of action, a little humor, a tender moment or two and, lots of suspense. The unrelenting pace drives home the imperative that constant threat must be met with constant vigilance, however tiresome it might be.

Ray Porter is quintessentially Joe Ledger, reflecting the character's toughness, humor, anger and doubt perfectly; but more than that, Ray Porter makes narration sound easy. There is a naturalness to the narration that lends credence to

the highest compliment paid: "Ray Porter IS Joe Ledger" - a perhaps overused and simplistic statement, but nonetheless true. Hooah.

Other Stuff: I borrowed a library-CD edition of this audiobook from Blackstone Audio, Inc. Patient Zero is the first full-length novel in the Joe Ledger sequence. "Countdown" is the short story listed as a prequel to Patient Zero, and can be found as part of the short story collection, Joe Ledger: The Missing Files or; it can be dnloaded individually.

n.b. "Countdown" is not really a prequel so much as it is a previous version of the first chapter of Patient Zero.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

This book also qualifies for the What's in Name? Challenge #4 hosted at BethFishreads. Patient Zero is an audiobook with a [number] in the title, "Zero."

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. Patient Zero is has scenes set in Baltimore, Maryland.

View dogearedcopy map 2011 in a larger map

"Can I have a cookie?"

Countdown

2011-10-02T00:01:00.000-07:00

"Countdown"

by Jonathan Maberry

narrated by Ray Porter

Blackstone Audio, Inc.

digital dnload

20 minutes

Meet Joe Ledger. Army Ranger vet. Tough Baltimore cop. Now a member of a joint task force heading in on a warehouse raid. Lots of guns, bullets, and a body in a big blue box... "Countdown" is a short story that introduces the listener to an action adventure hero in the making and, whets the appetite for more. What happens next? Who is Mr. Church? What's with the tinted glasses inside? The Vanilla Wafers? Is Mr. Church a good thing? A bad thing? An X-Files thing? The answers to all this and more await in the first full-length novel in the Joe Ledger trilogy, Patient Zero.

Ray Porter renders the character of Joe Ledger with natural ease. Jonathan Maberry, while generous with the mil-fic elements, also fleshes out the protagonist with an interior life beyond the jarhead mentality you might expect. Joe Ledger is smart, funny and most importantly, human. Ray Porter, in his turn, is Joe Ledger, inhabiting the character so completely that there is no disjunct between the writing and the narration.

Other Stuff: I borrowed a MP3-CD copy of Joe Ledger: The Missing Files from Blackstone Audio, Inc. There are five short stories in the collection: "Countdown" (precursor to the full-length novel, Patient Zero), "Zero Tolerance" (follow-up to Patient Zero), "Deep Dark" (prequel to the full-length novel, The Dragon Factory), "Dog Days" (follow-up to The Dragon Factory) and "Material Witness" (a crossover to The Pine Deep Trilogy.) I split up the mp3 files on the CD into the five groupings that made up each story; but each story is available separately as a digital dnload as well as on this short story collection.

This post is part of the Murder, Monsters, Mayhem feature being hosted by Jennifer L. at www.jennsbookshelves.com

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. "Countdown" is set Baltimore, Maryland.

View dogearedcopy map 2011 in a larger map

Murders, Monsters, Mayhem

2011-10-01T00:01:00.000-07:00

Murders, Monsters, Mayhem is a feature being hosted by Jennifer L. at www.jennsbookshelves.com for the month of October and I'm thrilled to be participating in this blogging event! There will be zombies, werewolves, haunted houses, messed-up people and maybe even a good old-fashioned homicide thrown in there some where! Things to keep an eye out for:

Audiobook Reviews
Movie Reviews
Graphic Novel Reviews
Informal Essays

One of the things to keep in mind as you're reading my reviews and whatnot is the theme of True Horror. Last year I wrote about the epiphany I had regarding the nature of horror and, while I may not be addressing this theme directly in every review, it is the leitmotif that informs anything I write in the genre. You can check out the "Horror" reviews that I wrote last year:

The Amityville Horror (by Jay Anson; narrated by Ray Porter)
The Reapers are the Angels (by Alden Bell; narrated by Tai Sammons)
I am Legend (by Richard Matheson; narrated by Robertson Dean)
Hell House (by Richard Matheson; narrated by Ray Porter)
The Haunting of Hill House (by Shirley Jackson; narrated by Bernadette Dunne)
Four Epiphanies (see the sub-heading on "True Horror")

I'll be posting links to all of this year's Murders, Monsters & Mayhem material to Murders, Monsters, Mayhem at Jennsbookshelves.com and; twittering using the #Mx3 hashtag. I look forward to any comments and recommendations you may have!

Mice

2011-09-17T15:42:00.000-07:00

This is apropos of nothing bookish. This is about mice.

Mice. In my kitchen. Under the sink.

I hate mice. In my kitchen. Under the sink.

This means war.

Again.

Ten years ago, when I lived in a Arts & Crafts bungalow just outside of Washington , D.C., we had a mouse problem. Neighboring properties (yes, that's plural) were undergoing renovation and, as a result, field mice started flooding adjacent homes. At first, my sweet, tiny, adorable cat named Thurman (a polydactyl cat whose paws looked like baseball catchers' mitts, hence the name a la Thurman Munson, the catcher for the NY Yankees) was having a field day in the back yard. It looked like a killing field of genocidal proportions. She (yes, Thurman the cat was a she) would bring me offerings of dead mice, dumping them at my feet, I'm told, to impress me. Ugh. But eventually, she retired. Maybe she felt she had nothing left to prove, so she took her place in the windowsills, sunning herself while the hordes continued to pour in. Maybe we should have named her Swartzkopf.

And there were hordes of mice. Our dogs, while willing to patrol the perimeters of the property for larger threats (drunks from the disreputable liquor store) seemed unconcerned about the "smaller" threat that was infiltrating our home. When I discovered the rodents in the kitchen, I freaked. I used to be insanely obsessive about cleanliness and this was unacceptable. Plus, they had holed up in our stove, making turning on the stove or oven an untenable proposition. The smell was nasty. Mice apparently love to hang out in the warm space right under the stove top, leaving their droppings and that strange ammonia smell. Eeewwww!

So now, I'm surrounded by sneaky mice and some of them are holed up in the Tora Bora that is my stove. First thing, we had to remove the stove and throw it away. Yes! Previously, a perfectly good stove, it was now contaminated and ruined. Behind the stove, we cleaned up, soaking the wood floors with Pine Sol. In fact, all the wood floors in our home were swabbed down with Pine Sol because we were told mice hate Pine Sol. This seemed like a good solution as this meant the mice would be disgusted with the smell and go away. And many of them did. But not all.

There was a cell still occupying the kitchen. I would see something flit out of the corner of my eye and track it down until I came to a hidey hole. Sometimes, the holes were no bigger than a dime, bored into the baseboards when telephone lines were installed or; sometimes a mere slit under which the mice would slip. So out came the caulking guns. Now were're sealed, but the mice are either making their way though the caulking or making new holes! Now, at this point, we hear that the best thing to do is spackle the holes with steel wool, chicken wire and bits of broken glass. I'm a bit horrified at the idea of mice getting caught up in this mess and, then dying behind the walls where they will remain as their tiny bodies decompose (and presumably smell.) At this point, however I'm willing to try this and deal with the aftermath later. I worried for nothing because it didn't work.

I'm going insane. In the middle of the night, I'm sitting on a chair in the middle of the kitchen, waiting for a tell-tale sign that the mice are afoot. I begin being able to identify the different mice. I name the big one Omousa bin Laden. Perhaps a flick of a tail against one of the dog dishes (sparkly clean dog dishes mind you. The dog and cat dishes are cleaned every night now and; the dog and cat foods have been sealed in plastic containers out on the porch.) I develop night vision. I can see them. I can hear them. I can smell them. And I am armed. With broom and a shoebox close at hand, I even manage to corner one. I'm closing in. I'm ready. Then DH comes in and offers to help. I say NO! NO! I GOT HIM! But of course DH is a man and he's genetically incapable of not helping with this mouse capture. He helps. Or I should say, he helped the mouse escape. Thank you Mr. Fucking Pakistan.

And now, I turn to my husband and say, we need traps. The catch-and-release kind. So he goes to the hardware store and gets a couple of shiny metal boxes that guarantee the humane capture of mice. We put a bit of peanut butter into the traps and wait. We catch a couple, which DH dutifully releases into a field far enough away that I'm reasonably assured that they will not return. But we only catch a couple. I don't know why they stopped falling for it; but they did.

And now I've stopped thinking about them as God's creatures who should be spared if possible. I want them dead. I can't put out poison because of the aforementioned dogs and cat and; I'm not agile and quick enough to catch them myself and strangle their tiny little throats, so the real traps get set. You know. The kind with the spring arm. Though I want them dead this particular kind of trap sends shudders through me. Unhappily, I set some with peanut butter and some with cheese and you know what? I think mice can see the big spring arm and can tell it's a big trap, because we didn't catch even one. We moved those traps around thinking it was a matter of placement; but no dice, no mice.

Our last ditch effort seemed to have worked though: the glue traps. Using my reconnaissance, I knew their trails, so we set the traps up in their pathways. I won't tell you what we did with the captured mice except to say it was very Abu-Graibish.

And now they're back. Ten years and three-thousand miles away and, out of the corner of my eye, I saw him. And there's the mouse droppings. While not the hordes I encountered before, it's still a nasty bit of business.

I'm naming this one al-Zawahairi.

Love Note from Mark Twain to His Wife

2011-09-15T20:42:00.000-07:00

Love Note from Mark Twain to His Wife

Hartford, Nov, 27/88.

Livy Darling, I am grateful --- grate-
fuler than ever before --- that you were
born, & that your love is mine & our two
lives woven & welded together!

S L C.

Source: Read a Love Note from Mark Twain to His Wife

BBAW: Community

2011-09-12T09:36:00.001-07:00

This is basically going to be a big THANK YOU to some the bloggers who have inspired me, influenced me, helped me and continue to inform me:

The Bloggers Who Inspired Me:
For many years I kept a book journal. It started out as a list of books that I wanted to read in a series or; the titles of books in an author's oeuvre. The lists eventually evolved into a word doc journal running over a hundred pages long, containing everything from my thoughts on a a title, a related movie, photos, recipes, charts... I was encouraged by Ann Kingman at Books on the Nightstand to try and migrate the entries online. I approached a couple technical savvy people who looked the material over and said the easiest thing to do would be to just start blogging. My original vision of having an interactive web-site was replaced with the more pragmatic goal of simply blogging. Rebecca Schinksy (BookLadysBlog) was very supportive from the first days of my appearance on twitter by offering to have me post audiobook reviews on her site and, then cheerleading me in the early days of blogging. I would also me remiss if I didn't mention Jason G (Brain Candy Book Reviews) for being one of my earliest online friends and champions.

The Bloggers Who Have Influenced Me:
In the beginning, I was not aware of the number of audiobook bloggers out there, so I was visiting and/or following a lot of print book bloggers. I didn't comment very often so much as I caught a feel for the way bloggers' relationships worked with publishers and, how book were promoted and trended. Combining that with what I knew/experienced in the publishing industry opened a whole new dimension to the concept of blogging and put a new square in my mental flow cart of the publishing industry as a whole. Social media, especially the twitter platform, became a bigger factor in my approach as well. Books on the Nightstand, BookLadysBlog and S. Krishna's Books were and still are influential blogs in my google reader.

The Bloggers Who Have Helped Me:
Sometimes it's a technical question, sometimes it's help facilitating an idea or a meme, sometimes it's a general question and, sometimes it's even "just" moral support. I could spend hours and spill a lot of ink for each of the bloggers who have made me feel welcome in the blogging community. These are just a few:

Jennifer C. (literatehousewife): From twitter convos about The Thousand Autumns of Jacob deZoet to creating the Bond Girls Posse (Shaken, NotStirred) to convos about our kids and, being Good Little Catholic Girls, Jennifer C. has been simply great. Cannot stress that last word enough.

Jennifer K. (DevourerofBooks): A print book blogger who always has a project or two going with Nicole B. (Linus's Blanket) also regularly features and promotes audiobooks (Audiobook Week, Sound Bytes.) Her professional approach and amazing ability to wring 50 hours of work out of a twenty-four hour day is impressive.

Jennifer L. (Jenn's Bookshelves): A print book blogger who promotes indie Bookstores (#indieThursday) and regularly features audiobook reviews, Jennifer L. has a upcoming feature for the month of October that I find pretty exciting: Murder, Monsters, Mayhem (#MX3.) Features like this (see also DevourerofBook's Audiobook Week and Sheila at Book Journey's Where Are You Reading? Challenge) force me to step up as a blogger. I like that.

Candace L. (BethFishReads): A professional editor who also blogs about books and audiobooks, Candace L. also runs an imprint awareness feature, Weekend Cooking feature and the What's in a Name? Challenge too. Also, don't get her started about mid-century feminism :-)

The Bloggers Who Continue to Inform Me:
In the past few months, the audiobook blogging community has been becoming more sharply into focus for me. Part of the awareness is a result of my job whose many disparate responsibilities includes sending out review copies from the-company-I work-for to various listener advisory services, bloggers included. I've been introduced to some great audiobook blogs/blogs that feature audiobooks, including, but not not limited to, John and Maggie True (audiobookfans.com) and Bob Reiss (guildedearlobe.com). Their love of audiobooks, thoughfulness and honesty in reviewing are obvious. I love it when they recommend a Blackstone Audio back to me, but no less when they aren't so happy with a title I've sent them or; when the raves are for another audiobook publisher's title(s). Some seriously good stuff :-)

I am truly grateful to all the bloggers out there who take the time to write a thought or two about the books they love (or hate) and promote wordsmithing as a whole. As I continue to try and find my blogging voice, their intelligence and passion for the published word continues to humble and amaze me.

Jitters: A Quirky Little Audio Book

2011-09-07T19:08:00.000-07:00

Jitters: A Quirky Little Audio Book

by Adele Park

performed by Adele Park, Susan Paige Lane, Paige Allred, Kristen Henley, Desiree Whitehead, Garry Morris, John Gibson, Steve Coppola, Chrystine Hyatt, Dave Cochran, Chase Nichter, Tim Porter, Doug Caputo, Rick Pickett and, Guy Smith

Straight to Audio Productions

www. jittersaudiobook.com

6.5 hours

"When Radio and polygamy collide..."

I will be the first to admit openly that, as I was live-tweeting the results of the Audies, I was extremely bemused when Jitters was announced as the winner in the Multi-Voiced Performance category. I had no dog in this fight and I had only listened to one title in this category (The Importance of Being Ernest by Oscar Wilde; performed by a full cast from L.A. Theater Works, starring James Marsters;) but Jitters was up against not only "Ernest;" but the high profile title, Room (by Emma Donoghue; narrated by Michal Friedman, Ellen Archer, Robert Petkoff and, Suzanne Toren,) Great Classics of Science Fiction (by H.G. Wells, Stanley G. Weinbaum, Lester Del Ray, et al; narrated by Simon Vance, Nick Sullivan, Robert Fass, et al) and The Shadow Effect (written and narrated by Deepak Chopra, Marianne Williamson and, Debbie Ford.) Big titles, well-known authors and veteran narrators were superseded by an unknown quantity. Adele Park reached out to bloggers this summer and I, eager to hear the David that slew its Goliath competition at the Audies, readily accepted a review copy for consideration.

The story itself is funny, clever and full of surprises. Set in the fictional small towns of Navel and Zion Flats, Utah, shock jock Nancy Neptune arrives to shake things up in the small Mormon community. Nancy has been exiled to a remote, risk-adverse radio station to be its program director and, dj the morning drive. (So, right off the first joke is on the listener as this isn't a radio drama; but a drama about radio!) The story of Nancy Neptune's impact on the community is told from several characters' points of view, each of the twenty-two chapters dedicated to a voice to advance the story. The format is such that each testimony is preceded by a radio news spot which also provides a tell as to the action off-camera. Nancy's presence is a lightning rod for events that have unanticipated results and, for a slew of eccentric characters including (but not limited to): an obese, divorced woman, a drag queen, a one-armed argro reporter/erstwhile detective and, a mentally challenged, inbred Yeti-like man who likes to sing along to Cheap Trick songs... While the easy laughs lie in the obvious idiosyncrasies of the characters, in the physical humor of their mere existence, the surprises come as the complexity of their characters is revealed.

There are eight key characters and, a number of smaller roles and bits, all performed by the voice-over talent that Adele Park has assembled. Exaggerated accents/mannerisms provide each character with a distinctive and appropriate voice. Because the setting and premise of Jitters is predicated on the radio theme, the production quality also adheres to the same clear, perhaps over-articulated, sound. [If I quibble here, it's only because there are reasons I don't listen to radio anymore and, one of them is that I find radio very harsh on the ears.]

There is absolutely no subtlety here. The precociousness of the writing and of the performances can wear a bit thin; but it is certainly original in all regards.

Other Stuff: This book qualifies for the What's in Name? Challenge #4 hosted at BethFishreads. Jitters: A Quirky Little Audio Book is an audiobook with [size] in the title, "Little."

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. Jitters: A Quirky Little Audio Book is set in the fictional towns of Navel and Zion Flats, Utah.

View dogearedcopy map 2011 in a larger map

Wordless Wednesday: Swings

2011-09-07T03:37:00.000-07:00

The Thank You Economy

2011-09-01T00:01:00.000-07:00

The Thank You Economy

written and narrated by Gary Vaynerchuk

Harper Audio, Inc.

5.6 hours

If you are a small business, a larger business or, a major corporation, this is the social media bible for you and every single person in your employ. Whereas Crush It! is the bible for individuals with the entrepreneurial spirit seeking to implement social media, The Thank You Economy is the guidebook for companies that need to be using social media correctly. The book defines the new rules of engagement when it come to establishing and maintaining relationships with customers via social media platforms; counters arguments against using social media in and for the workplace; makes general recommendations about incorporating social media into your company and; provides examples of how this works for different kinds of businesses. The core message of the book is that companies need to engage all of their customers in a personal and meaningful way that is made possible by the social media platforms that are now available. This book is absolutely invaluable for anyone who seeks to utilize social media in business and; also for any business that thinks that social media is irrelevant.

Gary Vaynerchuk's enthusiasm is as famous/infamous as it is infectious. He is brilliant but; for the uninitiated, his passion can be startling. In the middle of the audio, there is a certain amount of fatigue and; less extemporizing on the part of Gary Vaynerchuk that seems to settle in - all of which seems in contrast to his normal hyperactive style and makes for a certain uneven feel to the overall production. Regardless, only Gary Vaynerchuk can narrate this material because, in a way, it's very much his story, his memoir. Gary Vaynerchuk eats, sleeps and breathes this stuff and, needless to say practices what he preaches.

The clip below about the Morton's Steak bit that went viral is a perfect illustration of the principles outlined in The Thank You Economy. Ignore the lame graphics and editing. Seriously, the guy really should pay more attention to production quality. In his defense, Gary Vaynerchuk has perviously averred that message trumps media quality; however, poor production quality hurts the message. It's like sending a crippled runner with an urgent message :-/

Other Stuff: I received a digital dnload copy of The Thank You Economy upon request from Harper Audio, Inc.

Where Are You Reading?: Update

2011-08-31T00:01:00.000-07:00

I haven't updated for awhile; but I am still working on the challenge!

GA: A Quiet Belief in Angels (by R.J. Ellory; narrated by Mark Bramhall)

Other Person (male): So, what have you been listening to?
ME: A Quiet Belief in Angels
OP: So how do you like it?
ME: [Long pause] Ummm, er...
OP: What?
ME: I finished it like two weeks ago and I still haven't written the review. I don't know what to say. There's so much to recommend it and yet it was, well, disturbing.
OP: Why do you say that?
ME: Well, it has to do with a serial killer of little girls...
OP: Oh.
ME: Yeah.
OP: How bad was it?
ME: I almost fainted in the grocery store parking lot at that one scene where he discovers a body.
OP: Hunh. [Pause] Should I pick it up?
ME: I don't know.
OP: Well, I'll try it.

Two weeks later:

OP: [Standing in my doorway for a very long time]
ME: What's up?
OP: I finished A Quiet Belief in Angels.
ME: And?
OP: Yeah... no.
ME: Do you need to sit down?
OP: Uh, yeah.
ME: [After a few minutes filled with long pauses and struggling to articulate how he/we felt about the book] I don't think I can go there again.
OP: Yeah, me either. I mean, I couldn't stop listening to it because I had to know how it turned out; but I wasn't having any driveway moments either.
ME: I'm having a hard time "putting it away." I've listened to two other audiobooks since then; but [sic] A Quiet Belief in Angels still looms in my mind as the last audiobook I listened to. I don't don't know if I can handle any more Ellory. We've got Anniversary Man; but I think I'll pass for awhile. It's another serial killer.

Two weeks later:

I got assigned to be the studio engineer for A Simple Act of Violence (by R.J. Ellory) :-/

Bracing myself, I picked up a copy and settled down to pre-read this puppy before we headed into the studio. It turns out that, even though it features another serial killer, it's not as intense as A Quiet Belief in Angels. Set in Washington, DC, it's more of a thriller and conspiracy revelation than a whodunit. So, despite the numerous typos and Briticisms that were supposed to have been edited out, I was relieved and happy to head into the studio.

Now, remember a couple sentences ago, when I said it wasn't as intense as A Quiet Belief in Angels? Well, that was when I was in my 1950's ranch house living room while I was slouched on the ugly green couch; NOT while Kevin Kenerly was murmuring those same words into my headset! I mean I knew what's going to happen next and I still got a chill down my spine and got rachetted up in the suspense of it!

Alright, now let's go back to the second conversation I had with Mr. Other Person in which I mentioned that I had listened to two other audiobooks since finishing A Quiet Belief in Angels. One of those books was The Last Striptease (Joseph Kozmarksi first-in-series; by Michael Wiley; narrated by Johnny Heller.) A noir novel set in present day Chicago and read by a native Chicagoan and noir aficionado, I thought this would be stylistically different enough from A Quiet Belief in Angels that I could move on from Ellory's dark tale. Well, to be honest, I just couldn't focus on The Last Striptease sufficiently to evaluate it. I still felt rather traumatized by A Quiet Belief in Angels; So, in all fairness to both Michael Wiley and Johnny Heller, I passed on reviewing The Last Striptease. That doesn't mean you should skip it though. AudioFile Magazine gave it an Earphones Award and Johnny Heller cites the title as "The Best Book I Ever Narrated" (audible.com promotion.)

IL: Death Masks (The Dresden Files, #5; by Jim Butcher; narrated by James Marsters)

Eventually, I did rise above my bad mood and I got around to listening to an audiobook set in Illinois. Death Masks is the fifth in The Dresden Files series and incredibly well narrated by James Marsters. Jim Butcher is not the most careful of writers however. Stuff like naming a character Larry and them calling him Jerry; not keeping track of where the gun is and, having a character wear a short sleeve and then a long sleeve shirt in the same scene are irksome; but it's a testament to Marsters' talents that I keep returning to this series and consider them a personal favorite.

MS: Crooked Letter, Crooked Letter (by Tom Frankin; narrated by Kevin Kenerly)

So, while I was pre-reading A Simple Act of Violence, I was also listening to Crooked Letter, Crooked Letter. Going straight from "Crooked Letter" to "A Simple Act" left a rather strange impression in my head that Silas "32" Jones had left Mississippi had headed up to Washington, DC to become a detective up there! I haven't written a review for this one yet; but for now I will say that it was really, really good; probably a B+ if I were a rating/grading kind of girl! It's not your classic police procedural; but rather the revealing of different layers of a situation in which a girl has disappeared and suspicion has fallen on Larry Ott. Unfortunately for Ott, his date disappeared on him decades earlier... I'm not sure why I wouldn't grade this in the "A" range; but maybe that will come out in the review when I write it!

I'm a bit behind on keeping up with the challenge and in the end I may end up posting print book reviews of titles that qualify for the Challenge.

Congratulations to Her Royal Orangeness at Only Orangery for completing this challenge! I'm seriously in awe and envy :-) Check out her map!

Where are You Reading? Challenge

Hosted by Sheila at her blog, Book Journey

View dogearedcopy map 2011 in a larger map

The Wreck of the Hesperus

2011-08-28T19:17:00.001-07:00

The Wreck of the Hesperus

by Henry Wadsworth Longfellow


IT was the schooner Hesperus,
That sailed the wintry sea;
And the skipper had taken his little daughter,
To bear him company.

Blue were her eyes as the fairy-flax,	5
Her cheeks like the dawn of day,
And her bosom white as the hawthorn buds,
That ope in the month of May.

The skipper he stood beside the helm,
His pipe was in his mouth,	10
And he watched how the veering flaw did blow
The smoke now West, now South.

Then up and spake an old Sailòr,
Had sailed to the Spanish Main,
‘I pray thee, put into yonder port,	15
For I fear a hurricane.

‘Last night, the moon had a golden ring,
And to-night no moon we see!’
The skipper, he blew a whiff from his pipe,
And a scornful laugh laughed he.	20

Colder and louder blew the wind,
A gale from the Northeast,
The snow fell hissing in the brine,
And the billows frothed like yeast.

Down came the storm, and smote amain	25
The vessel in its strength;
She shuddered and paused, like a frighted steed,
Then leaped her cable’s length.

‘Come hither! come hither! my little daughtèr,
And do not tremble so;	30
For I can weather the roughest gale
That ever wind did blow.’

He wrapped her warm in his seaman’s coat
Against the stinging blast;
He cut a rope from a broken spar,	35
And bound her to the mast.

‘O father! I hear the church-bells ring,
Oh say, what may it be?’
‘’Tis a fog-bell on a rock-bound coast!’—
And he steered for the open sea.	40

‘O father! I hear the sound of guns,
Oh say, what may it be?’
‘Some ship in distress, that cannot live
In such an angry sea!’

‘O father. I see a gleaming light,	45
Oh say, what may it be?’
But the father answered never a word,
A frozen corpse was he.

Lashed to the helm, all stiff and stark,
With his face turned to the skies,	50
The lantern gleamed through the gleaming snow
On his fixed and glassy eyes.

Then the maiden clasped her hands and prayed
That savèd she might be;
And she thought of Christ, who stilled the wave,	55
On the Lake of Galilee.

And fast through the midnight dark and drear,
Through the whistling sleet and snow,
Like a sheeted ghost, the vessel swept
Tow’rds the reef of Norman’s Woe.	60

And ever the fitful gusts between
A sound came from the land;
It was the sound of the trampling surf
On the rocks and the hard sea-sand.

The breakers were right beneath her bows,	65
She drifted a dreary wreck,
And a whooping billow swept the crew
Like icicles from her deck.

She struck where the white and fleecy waves
Looked soft as carded wool,	70
But the cruel rocks, they gored her side
Like the horns of an angry bull.

Her rattling shrouds, all sheathed in ice,
With the masts went by the board;
Like a vessel of glass, she stove and sank,	75
Ho! ho! the breakers roared!

At daybreak, on the bleak sea-beach,
A fisherman stood aghast,
To see the form of a maiden fair,
Lashed close to a drifting mast.	80

The salt sea was frozen on her breast,
The salt tears in her eyes;
And he saw her hair, like the brown seaweed,
On the billows fall and rise.

Such was the wreck of the Hesperus,	85
In the midnight and the snow!
Christ save us all from a death like this,
On the reef of Norman’s Woe!

English Poetry III: From Tennyson to Whitman. Vol. XLII. The Harvard Classics. New York: P.F. Collier & Son, 1909–14; Bartleby.com, 2001.www.bartleby.com/42/. [Date of Printout].

Flashback Friday: Storm Front

2011-07-29T00:05:00.000-07:00

Storm Front

by Jim Butcher

narrated by James Marsters

Buzzy Multimedia

8.0 hours

Storm Front is the first title in The Dresden Files and, introduces the audience to Harry Dresden, a practicing wizard in modern day Chicago, IL. Harry is tapped by Monica Sells to locate her missing husband and, the local police force's Special Investigations unit has brought in Harry to consult ion a particularly gruesome homicide case wherein "magic' is suspected of playing a part.

In February of 2010, the Yahoo! group, Sounds Like a Mystery (S.L.A.M.) discussed Storm Front. Because the discussion went forward on the premise that participants in the discussion had already listened to Storm Front, there are spoilers in the comments about characters and, I've marked out the passages below ("SPOILER ALERT" and "END SPOILER ALERT.") The following comments were drawn from the discussion (02/20-23/2010):

> I listened to this first a couple of years ago and again a couple of weeks ago. I LOVE this audio! James Marsters' delivery is excellent, conveying the idea that he IS Harry Dresden and overcomes some of the production issues (booth/mouth noise) and what I suspect is not-that-great writing. I've never been inclined to pick up the print, but I have no problem recommending the audio!

A twitter friend of mine pointed out that he thought the action scenes were rather drawn out but I countered that it was the equivalent of slo-mo (a la The Million Dollar Man) wherein the fast sequences needed to be slowed down so that the listener/reader could take in everything that was going on or; akin to when you are in an accident and even though it's only taking a few seconds, it feels everything is going in slow motion. Moreover, I really hadn't noticed it until he pointed it out so the argument that the action scenes were "too" anything was arguable!

I think many people are wary of starting The Dresden Files titles because the assumption is that they are freaky paranormal, but The Dresden Files somehow seems to emphasize the "normal" in "paranormal" and make the fantastic believable.

********** SPOILER ALERT **********

> Maybe I watch too much TV, but anymore, when two story-arcs are introduced, I'm not surprised to learn that it's really one plot. Early in the novel, Victor Sells is introduced as a person of interest (as the missing persons case) so I figured he was involved somehow in the Tommy Tomm homicide. What I hadn't figured on was that Victor Sells would turn out to be the arch-nemesis of the story. I had mistakenly figured he was a high-ranking pawn, but a pawn nonetheless, to a more powerful figure. I think when I first listened to Storm Front, I thought he might even become instrumental in bringing the bad guy down.

I was also surprised in Monica Sells’ complicity. While I understand her motives in seeking assistance, I was chagrined that she would withhold information that could have helped her. Harry wasn't very good at persuading her to "help him help her;" but since she was the one who initiated contact, he shouldn't have to have been.

This read very much like a first-in-series novel wherein the characters were being very carefully described, for use now, and later. As for the main characters I have to say that I love Harry and Bob. Of course, despite the descriptions given in the book, I imagine Harry Dresden to look like Spike (from Buffy the Vampire Slayer) and Bob to look like Terrance Mann ("Bob" in the TV series, The Dresden Files!) Hey, it works for me!

I find Gentleman Johnny Marcone very interesting. The scene in which Harry and Marcone were soulgazing leads me to think there is Marcone will develop into an even more interesting character. I like Susan Rodriguez too. She just seems like fun. I actually don't care too much for Karin Murphy, as I've never really had much truck with people who only see things as black and white. Her indifference to Harry's reluctance to pursue checking out how a spell was to be worked, her demands for results (tantamount to ordering him to solve the case for her,) on deadline no less and, her attempt to arrest him (showing a distinct lack of faith,) were off-putting.

********** END SPOILER ALERT **********

> I'm rating this an "A-" and promoting it into my Parthenon of Favorite Audiobooks. It held up very well on the re-listen! I have the next three (Full Moon, Grave Peril and Summer Knight) on my iPod and plan on listening to them after I finish with the Geographic/USA Challenge.

Death Masks (#5) is on my audible wishlist and I may dnload it this year, but I probably won't listen to it until next year as I gotta lotta stuff on the backlog list! Titles #6 & #7 have yet to be produced. If they never are, then I may very well stop at #5 since I'm not particularly interested in reading these books in print and; I may have reached my limit in the series anyway. Titles #8-11 have been produced in audio but I really don't want to skip titles to get there.

The only other thing I see that James Marsters has done in audio is take part in a performance of The Importance of Being Ernest (by Oscar Wilde.) It has one five-star rating but no reviews. I don't know about that.

[Ultimately, Storm Front's production issues and suspect writing had me reconsider Storm Front from inclusion in my Personal Pantheon of All-Time Great Audiobooks; though it and The Dresden Files remains a guilty pleasure :-) All twelve titles in the series have been produced and are available. I did go on to listen to The Importance of Being Ernest (by Oscar Wilde as well as Death Masks (#5 in the series.)

Other Stuff: I purchased an MP3-CD of Storm Front from Buzzy Multimedia

Death Masks

2011-07-28T00:01:00.000-07:00

Death Masks

The Dresden Files, #5

by Jim Butcher

narrated by James Marsters

Penguin Audio

11.35 hours

Death Masks is the fifth title in The Dresden Files series which features the only practicing wizard in present-day Chicago, Harry Dresden. In Death Masks, three plot lines bump against each other in a tale in which everyone seems to be out to get Harry one way or another:

The Red Court's war against The Wizard's Council continues in its vehemence. A duel is set up between the vampire Ortega and Harry at Wrigley Stadium. At stake is Harry's life and perhaps the end of the war itself;
Harry is hired to recover a relic, nothing less than The Shroud of Turin! Harry and his friends, The Knights of the Sword, set out to track down The Shroud, the thieves, a few demons and, not lose Harry's soul in the process and;
Harry's erstwhile but very sexy girlfriend returns to Chicago ostensibly just to pick up a few things before leaving for good. Her love for Harry, combined with her sensuality and her newly developed fighting skills create an agonizing temptation for Harry.

There are some things that Jim Butcher does very well, namely create great, believable characters, write with humor and, provide plenty of action in any given plot. What Jim Butcher does not do well is pay attention to details with the result that there are always a couple of continuity errors that distract from the story.

James Marsters has spent years narrating and developing the The Dresden Files characters and is clearly in sync with the writer's intent and style. This audio was recorded out-of-order from the rest of the series (at the same time a later title in the series was recorded) and the result is that James Marsters' narration, from practice and experience far beyond the Buzzy Multimedia years, brings a polished performance to Death Masks. The production quality is cleaner than in the first four titles in The Dresden Files series (Storm Front, Fool Moon, Grave Peril and Summer Knight) as well. Issues like booth noises and mispronunciations have been eliminated. Overall, James Marsters' narration transcends Jim Butcher's writing, creating an experience best suited for audio over the print.

Other Stuff: I purchased a digital dnload copy of Death Masks from weread4you.com

This book also qualifies for the What's in Name? Challenge #4 hosted at BethFishreads. Death Masks is an audiobook with [a life stage] in the title, "Death."

This book also qualifies for the Where Are You Reading? Challenge hosted by Sheila at her blog, Book Journey. Death Masks is set in Chicago, IL.

View dogearedcopy map 2011 in a larger map

Wordless Wednesday: Jim Butcher Tat

2011-07-27T00:09:00.000-07:00

The Pink Chair: Changing Horses Mid-Stream

2011-07-25T00:13:00.000-07:00

Audiobook publishers don't want to do it. Fans of a series don't like it. But it happens? Why?

In no particular order:

The original narrator sucked. The reviews are in and they are all bad. The listener advisory service reviews (professional reviewers) are scathing. Customer reviews are generous with one star posts. The audiobook company is getting hate mail and customer service is fielding call-in complaints. And still, the audiobook publisher will be reluctant to pull the narrator; but if they do, can you really blame them? The audiobook publisher has really no where to go but up.

The original narrator has gotten worse. The narrator has developed a unique style as a result of bad advice, a workshop experience or maybe just thinks s/he sounds better with a new mannerism or; years of smoking and drinking have lent a not particularly pleasant new quality to the narrator's voice... The studio director has called the narrator on it ("Stop it!") but the narrator can't or won't and, now the character totally sounds different then when the narrator was originally cast for it. In this case, sticking with the same narrator isn't doing anyone - the listeners, the author, the book, the publishers - any favors.

The original narrator died. For obvious reasons, this is awful. And for less obvious reasons, it is also awful: The succeeding narrator will never be as good as the now-beatified voice of the original narrator who passed away.

The original narrator is otherwise engaged. Sometimes a narrator lands a juicy film role or a television gig or a role in a stage play or; maybe the narrator is ill or; having a baby or; in jail... It could be anything. The narrator is unable to meet the deadline of submitting the recording files. This is where the audiobook publisher weighs delaying the release of the title versus changing the narrator. For every day after the release of the print title that the audio edition is not available, the audiobook publisher and the author lose sales and royalties respectively. On the other hand, fans of a series may very simply not be interested in another narrator and would be willing to wait. It's a tough call and some of the factors that go into making it are things like weighing lost sales, contractural clauses and, whether the narrator's situation is one-time, chronic or, permanent.

The original narrator has retired from narrating. Many narrators are not full-time narrators. They have other careers or sidelines that are augmented by narration work. Sometimes those other lives develop into more meaningful pursuits and they move on from narrating. Other times, a narrator may rebel against being typecast into a certain series (e.g. the family man who doesn't like being known for his pedophile-character's predilections; the narrator who has a profound distaste for narrating passages involving bestiality, etc.)

The original narrator is difficult to work with. Maybe the narrator is off his or her meds. Maybe the narrator is an absolute asshole. Whatever, the narrator has gone beyond being eccentric into being truly impossible to work with. Studio sessions implode and everybody is tense and anxious. Almost inevitably, at one point the phrase "no one is indispensable" will be thrown into the mix.

The original narrator is too expensive. The narrator fees can be too high, the studio sessions can be getting too long (in the studio, time=$$$), the post-edit can be labor intensive (again, time=$$$)... Exactly how much is too much? When the costs of producing a book turn the title into a possible revenue generator into at best, a loss leader. This means that instead of hoping to ever eke out a literal dime in profits, the title will never even break even. The title will remain in the catalog and might attract customers to other titles; but overall the title becomes the weapon against which the bean counters wield against producers at every quarter's budget meeting. When the uber expensive production fails even to generate backlist sales, "actionable efficiencies" (cost cutting measures) are executed. Bye-bye, narrator with the non-negotiable fees.

The author disapproves of the original narrator. The author's reason(s) for being unhappy with a narrator can be many; but the reason always given is that the author does not agree with the interpretation that the narrator gave of the book. What triggers this decision can also be mysterious: Sometimes a narrator and an author do not becomes BFFs (see The Pink Chair: Contacting the Author); in fact, quite the opposite during a narrator consultation. Sometimes the author thinks that the audiobook royalties or the book's reputation will improve with a different narrator. Sometimes, the author may just exercise his or her prerogative to get more involved in the audiobook process. Sometimes, they even listen to the audiobook and truly do believe that the narrator didn't quite get it right. The audiobook publishers will generally fight against narrator changes, especially if the series is doing well; but sometimes the audiobook publisher loses.

The original narrator ages but the character hasn't/new title is a prequel to extant series. This is an issue with series that have gone on for decades; but the protagonist remains the twenty-something-year old, stuck in time without a cell phone or perhaps with her immortal cat... Unfortunately, the narrator originally selected to narrate the series has aged. The vocal quality has matured and/or thinned and there is an disconcerting difference between the protagonist's and the narrator's voices. Sometimes, an author will write a prequel to the series. The adolescence of a pushing-forty protagonist will be explored and there's no way it's not going to sound bad using the same narrator.

The series gets picked up by new audiobook publisher. Sometimes a series will be picked up by another audiobook publisher and the new guys cannot get access to the original narrator or; the new guys think they can cast the audiobook better. In the former case, it should be noted that the audiobook publisher tries very hard to retain the same narrator for the series; but sometimes, it just doesn't work out. The narrator can be under an exclusive contract with another audiobook company or, perhaps the original narrator and the new audiobook publisher simply cannot come to an agreement. In the case of the new guys thinking they can cast the audiobook better, it should be noted that the new guys were attracted to the series in the first place because of the series' reputation; but oddly there are producers who seek to either fix what isn't broken or; think that a soap opera star or B actor will do a better job than the professional narrator who developed the series. It's usually a short-lived delusion that corrects itself with the next title in the series.

Whatever the reason(s), know that an audiobook publisher does not make the decision to change narrators mid-series lightly. They know, as do you, that if you're unhappy with the change, you can always go to print.

Next up on The Pink Chair

Q1: A narrator is paid by the ▢ hour ▢ page ▢ book ▢ other