Audio Reviews: Week of 5/28/2007
By Staff -- Publishers Weekly, 5/28/2007
The Ministry of Special Cases Morey's dulcet theatrical tones offset the messy lives of the characters in Englander's first novel about Jewish residents of 1970s Buenos Aires who live in fear of Argentina's vicious military dictatorship. Against the backdrop of the dirty war conducted against leftists and activists, Kaddish Poznan scratches together a living vandalizing the gravestones of Jewish criminals who are embarrassments to their families, even in eternal slumber. Morey struggles manfully with the book's religious terminology and outbursts of Spanish, but his reading is too mannered to render the vibrancy of Englander's prose. His pauses are often too long, and his line readings sometimes lean awkwardly, and puzzlingly, on certain words. Nonetheless, Morey's professional assurance means that, certain flaws notwithstanding, his reading flows along without overly noticeable interruption, accurately conveying the menace lurking behind every word, every sentence of Englander's death-haunted tale. Simultaneous release with the Knopf hardcover (Reviews, Mar. 19). (May) Humor, rather than romance, abounds in this audio play performed in front of a live audience. From its "Who's on First"-meets-Shakespeare introduction to its surprising and irrelevant ending, Romance will leave listeners laughing uproariously at the running gags, outrageous language and amusing tangents. Fred Willard as a befuddled, overmedicated and pontificating judge hosts this kangaroo court of love affairs, foreign affairs and bigotry so blatant that it would be appalling if it wasn't so satirical. The defendant has discovered the key to peace between Israelis and Palestinians, but unless he can get court to adjourn, his plans will be wasted. The small but talented cast (including Noah Bean, Ed Begley Jr., Gordon Clapp, Steven Goldstein, Rod McLachlan and Rob Nagle) possess perfect timing and delivery. While the gross and vulgar language may scare some listeners away, its nonchalant execution dissolves its venom and infuses humor. Dirty and delicious, listeners will find this audiobook ending sooner than they will desire. (May) Atossa Leoni, who is German-born of Afghan ancestry, was clearly chosen because she can pronounce all the Afghan words-a big plus, but it's the only plus in this bad reading. Dropping her voice on the last word of every sentence, her phrasing is regularly rendered ungrammatical by breaks at the wrong points. Her narrow vocal range makes for a dull and often difficult listening experience. Despite the reader, the book holds the listener thanks to Hosseini's riveting story-an in-depth exploration of Afghan society in the three decades of anti-Soviet jihad, civil war and Taliban cruelty. He impels us to empathize with and admire those most victimized by Afghan history and culture-women. Mariam, a 15-year-old bastard whose mother commits suicide, is married off to 40-year-old Rasheed, who abuses her brutally, especially after she has several miscarriages. At 60, Rasheed takes in 14-year-old Laila, whose parents were blown up by stray bombs. He soon turns violent with her. Although Laila is united with her childhood beloved, the potential return of the Taliban always shadows their happiness. Simultaneous release with the Riverhead hardcover (Reviews, Feb. 26). (May) Each story in this collection is narrated reverently and carefully. In "The Bridal Party," Grover Gardner distinguishes nicely between the affluent bridegroom who is about to feel the repercussions of the 1929 stock market crash and the jilted suitor whose fortunes are rising due to an inheritance. In the often anthologized "Babylon Revisited," Ray Porter does an outstanding job of performing the female characters. Those two stories hint at the range of this collection. Most of them, including "Three Hours Between Planes," performed by Jeff Cummings, feature typical Gatsby-like figures who suffer the pangs of unrequited love. The title story, performed by Scott Brick, is a gimmicky tale of a life lived from grave to cradle. Fans will enjoy this collection's lesser known but neatly contrived stories that appear alongside some of the author's canonical tales. For those who may have read one or more of Fitzgerald's novels from the '20s, this audio is a great opportunity to sample his shorter works. (Apr.) Vachon's debut novel, the subject of frenzied speculation and assiduous hype, arrives on audiobook at the crest of a wave of excitement. Heyborne reads Vachon's brand-name, corporate-name-heavy prose with satisfaction, pounding on each punch line and luxury brand with panache. While it is jarring to hear him mispronounce the names of high-profile New York law firms, undercutting Vachon's brand of masters-of-the-universe realism, Heyborne captures the novel's mixture of high-stakes capital and comic psychological insight. Heyborne's voice, soft and often pleading, is the precise opposite of the rapacious hypercapitalists the book drizzles across its pages, but the juxtaposition works for the most part. Vachon documents, rather than celebrates, the world of finance his book inhabits, and Heyborne's reading further dilutes any sense of romance that might still cling to its Gordon Gekko manqués, chasing after that ever-elusive dollar. Simultaneous release with the Riverhead hardcover (Reviews, Jan. 8). (Apr.) Cain's classic novel, and the source for the 1945 film starring Joan Crawford, makes its way onto audio with this reading by actor and singer Williams. Cain's purple prose and then-scandalous dialogue take on new life under Williams's direction, her assured tone underscoring the legendary noir writer's rip-roaring tale of a woman scorned who survives no-good men and a hateful daughter to make it in 1930s Los Angeles. Williams is out of her depth encountering tense or high-pitched dialogue, reading it in a clipped monotone that does little for Cain's drama, but is on far stronger ground with the rest of the book, which flourishes under her steady, patient, ever-so-slightly melancholic gaze. Williams's reading lacks the rage that moved Crawford's Mildred, but her version of the now-familiar story amplifies our sense of Cain's heroine as an abandoned woman who finds her own way, on her own terms. (Apr.) Stevenson has read all of Austen's novels for audiobook, in abridged or unabridged versions, and her experience shows in this delightful production. Though dominated by the intelligent, sweet voice of Anne Elliot-the least favored but most worthy of three daughters in a family with an old name but declining fortunes-Stevenson provides other characters with memorable voices as well. She reads Anne's haughty father's lines with a mixture of stuffiness and bluster, and Anne's sisters are portrayed with a hilariously flighty, breathy register that makes Austen's contempt for them palpable. Anne's voice is mostly measured and reasonable-an expression of her strong mind and spirit-but Stevenson imbues her speech with wonderful shades of passion as Anne is reacquainted with Capt. Wentworth, whom she has continued to love despite being forced, years before, to reject him over status issues. Listening to Stevenson, as Anne, describe a sudden encounter with Wentworth, one hardly needs Austen's description of how Anne grows faint-Stevenson's perfectly judged and deeply felt reading has already shown that she must have. Even those who have read Austen's novels will find themselves loving this book all over again with Stevenson's evocative rendition ringing richly in their ears. (Apr.) Hamid grabs hold of the American Dream as seen through the eyes of a young Princeton grad from Pakistan in a post-9/11 world. As the protagonist, Changez, finds moderate business success and romantic love in New York City, his heritage and identity will be lost in a sea of subtle and blatant bigotry as well as international politics. In relating this journey from loving to loathing of all things American, Changez speaks to a nameless and speechless American whom he encounters in the marketplace of his home city, Lahore, Pakistan. Bhabha's English-influenced Pakistani accent proves soothing and inviting for listeners. His gentle demeanor captures the courteous and polite manner of Changez. His American accent comes in the form of a Midwestern accent with a confident-almost arrogant-lilt. He lapses when it comes to vocalizing women. Though lighter, his voice exudes a stoic resonance instead of a feminine one. But the casual tone of Changez telling his life story translates perfectly with the help of Bhabha's velvet voice. Simultaneous release with the Harcourt hardcover (Reviews, Dec. 11). (Apr.) Stith gives a fine performance in the first-person role of Liberty Jones, a Texas girl from the wrong side of the tracks who struggles to make a life for herself and her younger sister after the death of their mother, and struggles even more with her powerful attraction to a man she can't have. Stith's voice conveys earnestness, vulnerability, self-doubt and inner strength, making Liberty an immensely likable heroine who immediately garners the listener's sympathies. She also does an excellent job as the other characters, particularly the men in Liberty's life, who are angry, passionate and struggling with their own demons. This entertaining chick lit romance works perfectly on audio and would be a natural for beach listening. Simultaneous release with the St. Martin's hardcover (Reviews, Sept. 25). (Apr.) Simmons's lumbering seafaring adventure-cum-ghost story is solidly manned by Vance, who invests his reading with a vinegary tang perfectly suitable for the nautical setting. Vance derives special pleasure from the opportunity to dive into the book's mixture of King's English, Cockney, Scottish and Irish accents, delivering each with brio and panache. Working with characters who express themselves lustily, Vance avails himself of the opportunity to chew the scenery and makes the most of it. Simmons's novel mingles genres, alternating between horror and maritime action, and Vance uses tone and pitch to indicate the story's joints and digressions. Vance enjoys declaiming Simmons's characters' speeches in booming voices, as would be appropriate for the book's setting, but those listeners residing in apartments, or with babies, would be advised to keep the sound turned firmly down to avoid any potential noise complaints. Simultaneous release with the Little, Brown hardcover (Reviews, Nov. 6). (Apr.) If ever a book was brought to life by a reading, it is this presentation of O'Brien's posthumously published classic. Norton individually crafts voices and personalities for each character in such a way that a listener might imagine an entire cast of voice talent working overtime. This is a comic/surreal tale of a one-legged gentleman farmer who participates in a poorly planned botched robbery-turned-murder, only to find himself having a long conversation with the dead man shortly after the deed. In addition he hears from his own soul, who he names "Joe." Joe's voice is that of a wry observer with a voice of calm, removed authority, whereas dead man Mathers' voice is completely nasal, at once sickly and droll. Mathers sends the farmer to a two-dimensional barracks of three metaphysical policemen. Here he finds himself in a world where people can become bicycles and eternity is within walking distance. Norton's rendition of the main policeman, Sergeant Pluck, tips the reading into a full-out performance. The enormous blustery fellow with red cheeks and brushy mustache and eyebrows is portrayed like a jolly yet dangerous Disney walrus. Norton's Irish brogue, accentuated to different degrees with the various characters, ties the ribbon on a perfect presentation of this absurd and chilling masterpiece. (Apr.) Emond sounds more than a little like Laura Linney, and her plainspoken, occasionally whispery reading of Lippman's disturbing novel of buried secrets often brings the acclaimed actress to mind. Lippman's novel shuttles back and forth between the present, where a middle-aged woman is involved in a hit-and-run accident, and a past in which two girls are abducted from a mall and never seen again. Do the two events have anything to do with each other? Emond brings a sense of quiet force to Lippman's story, her voice imprinted with sadness and a sense of life's tragic surprises. Her reading bridges the unbridgeable gaps between past and present in Lippman's story, offering little in the way of surprises but a marked amount of suppressed, nearly palpable emotion. Simultaneous release with the Morrow hardcover (Reviews, Jan. 22). (Apr.) Blood, bullets and death are served up in ample portions in McKinty's final entry to his Michael Forsythe trilogy. The past 12 years have found Irish tough Forsythe hiding out in Peru looking over his shoulder in anticipation of being found by crime boss Bridget Callaghan, who has spent the last decade looking for Forsythe with the intention of killing him to avenge the killing of her fiancé. But things change, and when she does locate Forsythe, it is to beg him to help find her kidnapped 11-year-old daughter, Siobhan. Doyle brings a clean, well-articulated Irish lilt to his reading that works especially well with the book's multiple characters, each of whom he renders with distinct individual voices. One might argue that he could have brought a bit more emotional resonance to McKinty's rich first-person narrative, but overall Dole's skillful narration draws the listener deep into this dark side of the emerald isle. Simultaneous release with the Scribner hardcover (Reviews, Jan. 1). (Mar.) Scottoline's breathless new thriller doesn't make it easy for a female reader. The male-heavy cast of characters, including heroine Natalie "Nat" Greco's overly protective daddy and her sports crazy brother, have Rosenblat gruffing up enough to fray even the most flexible vocal chords. She must also keep readjusting her pacing as Nat stumbles from a quiet life as a law professor into a chaotic nightmare filled with prison riots, murders and life and love on the run. The fun and suspense begins when Nat is smitten with Angus Holt, a fellow prof who seems to be the antithesis of the men in her testosterone-filled family. Rosenblat gives the thoughtful, ponytailed Angus a voice so mellow you can almost smell his patchouli incense. Nat follows him to a teaching class at a local prison where a riot breaks out. A dying prison guard's whispered secret places Nat in ultimate jeopardy. From there, the mousy brunette law professor transforms herself into a blonde survivor who can dodge bullets, homicidal truckers and dogged lawmen. Scottoline provides the physical and psychological changes, but Rosenblat makes the metamorphosis credible by subtly replacing Nat's timid voice with one full of strength and determination. Simultaneous release with the HarperCollins hardcover (Reviews, Dec. 18). (Mar.) Richard Allen has a rich, mellifluous voice, the kind that reassures you in slow, measured terms that everything is going to be all right. Unfortunately, it's the wrong kind of voice for a dark, fast-paced thriller. Magic City chronicles an array of inhumane behavior triggered by the hunt for a black and white photograph snapped 43 years ago. The latest adventure of Hall's heroic and resourceful beach bum, Thorne, is filled with violence, murder, broken romances, family betrayals and secrets that could change the history of Florida. It's the sort of material that demands a hard-edged if not hard-boiled delivery. Instead of matching the pace of the action, Allen slows things down to a crawl with a soft, unhurried rendition. When Hall writes: "Permeating the house was the harsh acrid reek of a death chamber," he clearly didn't mean for it to be read in a floating, unemotional singsong. There are audio books with narrators who are not quite the perfect fit for the material, but rarely does one find a mismatch this egregious. Simultaneous release with the St. Martin's Minotaur hardcover (Reviews, Jan. 15). (Mar.) Who could be better reading this recording of Christie's 1952 classic than Hugh Fraser, who not only has done several audio versions of her novels but who also plays Captain Hastings in those lovely TV adaptations starring David Suchet as Hercule Poirot? Fraser uses his own British accent to narrate, then switches impressively to a perfect Belgian tinge as he lets the master detective ramble on about French food, suspicious deaths and how hard it is to handle both in the cities and villages of his adopted England. When Mrs. McGinty, a sweet-natured widow, is found bludgeoned to death, suspicion falls on James Bentley, her somewhat dodgy lodger. Bentley's trial looks like a guaranteed guilty verdict, but a leading policeman is suspicious enough to ask for Poirot's help. As the story begins to explode into a complex web of lies and hidden identities, novelist Ariadne Oliver (much more like the real Christie than the cute Miss Marple) joins the hunt to find the real murderer. Even fans familiar with the novel will enjoy this classic Christie audio. (Mar.) This enigmatic interrogation into the life of the sequestered and nameless protagonist referred to as Mr. Blank will leave some listeners perplexed and others awestruck by Auster's manipulative narrative devices. Trapped within a room, Mr. Blank tries to recall who he is as a host of people from his past visits him. As usual, Hill performs fantastically with much energy and emotion. His edgy gravelly voice is tempered with a range of intensity that will grip listeners. Yet this doesn't deter him from a softer tone when vocalizing women or revealing a more sentimental element of the story. The only problem with Hill's voice is that his pitch ranges drastically, even in the same sentence. The sound engineers need to pay close attention and level it out. Otherwise, listeners are left constantly turning up and down the sound. Simultaneous release with the Holt hardcover (Reviews, Oct. 16). (Mar.) Nonfiction Though Cummings seems younger and more naïve than the narrator of this appalling history, he does convey the growing disbelief and revulsion that former Marine Captain Steidle feels during his six months as an African Union observer of the Darfur genocide. In ever-rising tones, Cummings conveys Steidle's developing incredulity, frustration, horror and impotence as he witnesses and actually photographs the janjaweed arrive on horseback to systematically rape, torture, murder and mass slaughter 200,000 men, women and children, then loot and torch one village after another. Every day the unarmed AU observers interview the victims and the perpetrators, but their mandate is to observe and report on each infringement of the so-called cease-fire; they can in no way interfere-no matter how horrific the crime. What is hardest for Steidle (and listeners) to stomach is the utter complacency of the U.N., the U.S. and the world's other powers mutely observing what can only be called genocide. (On April 16, 2007, Sudan finally approved the deployment of attack helicopters and 3,000 U.N. peacekeepers.) Simultaneous release with the Public Affairs hardcover (Reviews, Feb. 26). (Apr.) Doty brings a mellow, soft-spoken dignity to the narration of his memoir, which chronicles the lives of the distinguished poet and author's beloved retrievers, Arden and Beau. The narrative thread comes together in the form of essays evoking the joy, tenderness, pain and loss in the compressed canine life spans of the two dogs. The four-legged drama takes shape amid the backdrop of Doty's human journey of grief and resiliency, particularly in regard to the loss of his longtime partner to AIDS and his subsequent glide into a new romantic relationship. Given Doty's literary pedigree, it should come as no surprise that he takes a meandering path in the autobiographic story line, pausing frequently to offer philosophical insights. The thoughtful pace and tone of Doty's audio performance brings to mind the spoken-word journals of NPR's This American Life. Audiences eager to cut to the chase for a classic inspirational dog saga may lose patience, but discerning listeners will appreciate Doty's perspective. Simultaneous release with the HarperCollins hardcover (Reviews, Mar. 12). (Apr.) Famed Savannah restaurateur Paula Deen, whose drive to create a better future for her two sons helped fuel a rags-to-riches entrepreneurial adventure, dispels the notion of herself as the model of motherly virtue, confessing to a nagging smoking habit and a less than wholesome workplace vocabulary. More seriously, she admits that chronic agoraphobia and an inability to come to terms with the effects of her first husband's drinking rendered her a less than ideal maternal figure. During the taping of an early episode of Deen's Food Network program, a meddlesome producer chided her to take only "princess bites" of on-air creations, advice that she wisely rejected. Admittedly, Deen may at times seem to sink her teeth into too many personal issues and cathartic experiences, at least for the most casual of listeners. Yet Deen's legions of fans will find themselves enthralled by the spunky, confessional tone and undeniable down-home charm of her audio performance. She addresses her listeners as "ya'll" with a grace and sincerity capable of winning hearts on both sides of the Mason-Dixon line. Simultaneous release with the S&S hardcover (Reviewed online). (Apr.) The Gospel of Judas represents the most baffling in a series of recently unearthed noncanonical manuscripts that bring to light divergent accounts of Christ's life and ministry. Robertson Dean reads King's translation of the ancient text with frequent pauses to note gaps of missing or untranslatable words and sentences. The main section of Pagels and King's book, narrated by Justine Eyre with occasional support from Dean who gives voice to individual historical figures, offers compelling insights about why the Gospel of Judas threatened the burgeoning religious hierarchy of the second century A.D. and how this often unsettling narrative ultimately manages to provide a surprising vision of heavenly grace amid the ravages of flawed earthly spiritual leadership. Drawing from their extensive expertise regarding contemporary understandings of the Gnostic gospels, the analysis the authors present will no doubt generate valuable theological dialogue. Yet the enigmatic nature of the source material may remain a stumbling block for listeners, and general audiences hoping for Gnosticism 101 may need to search elsewhere. Simultaneous release with the Viking hardcover (Apr.) Environmentalism isn't dead; it's just being reborn," declares the Massachusetts senator and his philanthropist wife. The individuals and groups that the couple profile embody a no-nonsense spunk that defies tired old tree-hugger stereotypes. Deirdre Imus, a children's health advocate and wife of recently dethroned radio personality Don Imus, successfully pressured public schools in the New York City area to switch to nontoxic janitorial products. An apple grower in Washington State forced industrial dairy farms in her community to stop contaminating the water supply with fecal waste, while residents of Louisiana formed "bucket brigades" to test air quality in their towns. The citizen success stories, especially as voiced by three-time Audie winner Dick Hill, never fail to inspire, but unfortunately the authors veer into conventional public policy polemics just when their grassroots journey begins to hit its stride. Granted, their conclusions about failed leadership in the current political climate stand on solid scientific ground, but a little more focus might have rendered a more cohesive listening experience. Simultaneous release with the Public Affairs hardcover (Apr.) Beah's harrowing story of a boy caught up in the civil strife in Sierra Leone is not an audio to curl up with before bedtime. Beah's even-toned narrative is particularly disturbing because it's almost exactly the same whether he is enjoying the company of a newly found uncle or busy shooting and maiming rebels and even burying them alive. His monotone works particularly well when he is recounting his dreams, for he cannot distinguish his nightmares from his waking life. Beah speaks with a thick accent that omits "th" sounds. Many words are understandable in their context, but a few are not. He also stumbles over some longer and more complex words. Despite these drawbacks, Beah's tale is a riveting snapshot of childhoods stolen from all too many, not just in Sierra Leone but in Somalia, Iraq, Palestine and other places ravaged by civil wars. Simultaneous release with the FSG hardcover (Reviews, Dec. 18). (Mar.) This abridgment of Wharton dropout Scurlock's scathing exposé of a debtor nation doesn't do justice to the complexities of the story it's trying to tell. Scurlock's book is demanding; he asks us to keep track of dozens of real-life characters and keep up with their complicated personal stories of debt, collection agencies and the tragic elements (suicide and even murder) that have resulted from their poor financial choices. He also asks that we track the labyrinthine (albeit fascinating) historical, political, economic and social reasons why personal debt is skyrocketing in America. This is all easiest to follow in Scurlock's documentary film (from which the book originated), with all its many visual cues; more challenging but still entirely doable with the hardcover; and next to impossible with this abridgment, which skips abruptly from one abbreviated sob story to the next. However, Scurlock's narration is spot-on; he hits the perfect notes of irony, sarcasm and righteous indignation that the story requires. It also doesn't hurt that he sounds like Ira Glass. Simultaneous release with the Scribner hardcover (Reviews, Dec. 11). (Mar.) Opening with her firsthand account of an exorcism, Wilkinson delves into the spiritual world of good versus evil in an earthly sense. Through interviews with church-appointed exorcists, past and presently possessed people and a slew of others (from psychologists to Satan worshipers), she looks at the contemporary world of demonic possession. At a time when genetics is providing ample explanations about "human nature," Wilkinson wonders why the number of exorcists has drastically increased over the past 15 years. She also explores the church's ambivalence about exorcism and the balancing acts exorcists walk. Frasier proves a compelling narrator: her soft, smooth voice reveals compassion and curiosity as the mysteries of the book are revealed. Particularly during the exorcisms, Frasier provides distinct voices and personalities to delineate the exorcist and the possessed person, paying particular attention to the demonic voices and the actual voice of the possessed. Her other impressive feat is her masculine voice that differs significantly from her narrative voice. With all of the people quoted within the book, this distinction helps listeners follow the text better. Simultaneous release with the Warner hardcover (Reviews, Dec. 11). (Mar.)
Nathan Englander, read by Arthur Morey. Random House Audio, unabridged, 10 CDs, 12.5 hrs., $34.95 ISBN 978-0-7393-4193-3
David Mamet, read by Fred Willard, Ed Begley Jr. and a full cast. L.A. Theatre Works, unabridged, one CD, 74 mins., $25.95 ISBN 978-1-580-81353-2
Khaled Hosseini, read by Atossa Leoni. Simon & Schuster Audio, unabridged, 11 CDs, 12 hrs., $39.95 ISBN 978-0-7435-5445-9
F. Scott Fitzgerald, read by Scott Brick, Grover Gardner and others. Blackstone Audio, unabridged, three CDs, 3 hrs., $19.95 ISBN 978-0-7861-6045-7
Dana Vachon, read by Kirby Heyborne. Penguin Audio, unabridged, eight CDs, 10 hrs., $29.95 ISBN 978-0-14-314194-5
James M. Cain, read by Christine Williams. Blackstone Audio, unabridged, eight CDs, 10 hrs., $24.95 ISBN 978-0-7861-6047-1
Persuasion
Jane Austen, read by Juliet Stevenson. Naxos Audio, unabridged, seven CDs, 8.5 hrs., $47.98 ISBN 978-962-634-436-1
Mohsin Hamid, read by Satya Bhabha. BBC Audio, unabridged, four CDs, 5 hrs., $29.95 ISBN 978-1-60283-177-3
Lisa Kleypas, read by Jeannie Stith. Brilliance Audio, unabridged, 10 CDs, 11 hrs., $38.95 ISBN 978-1-59737-851-2
Dan Simmons, read by Simon Vance. Hachette Audio, abridged, nine CDs, 9 hrs., $39.98 ISBN 978-1-60024-076-8
The Third Policeman
Flann O'Brien, read by Jim Norton. Naxos Audiobooks, unabridged, six CDs, 7 hrs., $41.98 ISBN 978-962-634-455-2
Laura Lippman, read by Linda Emond. HarperAudio, unabridged, nine CDs, 11 hrs., $39.95 ISBN 978-0-06-125655-4
Adrian McKinty, read by Gerard Doyle. Blackstone Audio, unabridged, nine CDs, 11 hrs., $26.95 ISBN 978-0-7861-6078-5
Daddy's Girl
Lisa Scottoline, read by Barbara Rosenblat. HarperAudio, unabridged, eight CDs, 10 hrs., $39.95 ISBN 978-0-06-122715-8
James W. Hall, read by Richard Allen. Tantor Audio, unabridged, nine CDs, 11.5 hrs., $34.99 ISBN 978-1-4001-0406-2
Mrs. McGinty's Dead
Agatha Christie, read by Hugh Fraser. Audio Partners, unabridged, five CDs, 6 hrs., $27.95 ISBN 978-1-57270-731-3
Paul Auster, read by Dick Hill. Tantor Audio, unabridged, four CDs, 4.5 hrs., $24.99 ISBN 978-1-4001-0374-4
Brian Steidle and Gretchen Steidle Wallace, read by Jeff Cummings. Blackstone Audio, unabridged, seven CDs, 8 hrs., $19.95 ISBN 978-1-4332-0003-8
Mark Doty, read by the author. HarperAudio, unabridged, five CDs, 6 hrs., $39.95 ISBN 978-0-06-123401-9
Paula Deen with Sherry Suib Cohen, read by Deen. Simon & Schuster Audio, abridged, six CDs, 7 hrs., $29.95 ISBN 978-0-7435-6883-8
Elaine Pagels and Karen L. King, read by Justine Eyre and Robertson Dean. Penguin Audio, unabridged, three CDs, 4 hrs., $29.95 ISBN 978-0-14-314186-0
John Kerry and Teresa Heinz Kerry, read by Dick Hill. Tantor Audio, unabridged, seven CDs, 9 hrs., $29.95 ISBN 978-1-4001-0438-3
Ishmeal Beah, read by the author. Audio Renaissance, unabridged, seven CDs, 8.5 hrs., $34.95 ISBN 978-1-4272-0230-7
James D. Scurlock, read by the author. Simon & Schuster Audio, abridged, five CDs, 5 hrs., $29.95 ISBN 978-0-7435-6744-2
Tracy Wilkinson, read by Shelly Frasier. Tantor Audio, unabridged, four CDs, 4.5 hrs., $24.99 ISBN 978-1-4001-0379-9
Fiction
