Audiobook Review: Sector 64: Ambush by Dean M. Cole

24 02 2015

Sector 64: Ambush by Dean M. Cole

Read by Mike Ortego

Dean M. Cole

Length: 11Hrs 57Min

Genre: Science Fiction

Grade: B

Let’s face it, we all know that there are aliens out there. Somewhere in the vastness of space, life has sprung up. I mean, if Earth managed to evolve enough to bring us to a point where 50 Shades of Grey is a literary and cinematic phenomenon, then somewhere out there other life, maybe even sentient life, exists. And, would we really blame them if they want to destroy our planet and rid the universe of our menace. That’s the thing about Alien Invasion stories. If there is a species of Alien Life out there who can actually make it to Earth, then we better home they haven’t seen that our cultural contribution to the universe is 50 Shades, or being tied down and abused is the least of our worries.

That being said, I love alien invasion tales and Sector 64: Ambush is a pretty solid one. While the book doesn’t break all that much new ground, it isn’t really your typical Invasion tale either. Most invasion tales take a macro view to the story, giving us multiple big picture perspectives on the devastation an alien attack and the fight against the invaders Sector 64: Ambush gives us a more limited look, based on the perspectives of a few key players. It’s creates a fresh feel to the story, while still utilizing plenty of alien invasion, apocalyptic and military science fiction tropes.

Author Dean M. Cole moves the story along well. His prose is bare bones but polished. Early in the book, he definitely uses the David Weber “introspective infodump” style of giving us a bunch of the set up through the thoughts of some of the key players, but once he has the universe established, it’s pretty much well paced action that drives the narrative. There are a few unnecessary side trips, including a bit of potential sexual violence that I don’t think added much to the story, but overall, the tale stayed on target. Overall, I like the potential for the universe that Cole set up. I am interested in seeing where he make take the story in future installments. Sector 64: Ambush is highly accessible, action filled alien invasion science fiction that should appeal to the fans of the subgenre, while offering just enough little tweaks to give is a unique feel.

Mike Ortego has a old school narrator style that fans of narrators like George Guidall and Richard Ferrone should enjoy. He makes some smart choices along the way, including not trying to hard to give perform female voices that are out of his range. While fitting for the tale, it’s not my favorite style of narration. I personally would have enjoyed a narrator with a bit more energy and range, but this is a stylistic preference and not a true criticism. Ortego does a good job, especially with the alien voices. His pacing, at times, could get a bit staccato, but mostly he handled the action well. The production quality was excellent, and, for the many fans of this style of narration, Sector 64: Ambush should hit a homerun.





Audiobook Review: The Girl on the Train by Paula Hawkins

20 02 2015

The Girl on the Train by Paula Hawkins

Read by Clare Corbett, Louise Brealey, and India Fisher

Penguin Audio

Length: 10Hrs 59Min

Genre: Mystery/Suspense

Grade: A

I often wonder how an author feels when their novel is compared to some cultural phenomenon. Paula Hawkin’s The Girl on the Train is being called the next GONE GIRL. This must be both exciting and frustrating for an author, who wants the book to be commercially successful, yet also must want it to stand on its own. I highly doubt, due to the way the publishing industry works, that Hawkins sat down and said, “I’m going to write the next Gone Girl.” Hell, there have been plenty of twisty novels full of unreliable narrators and despicable characters before Gone Girl and I am sure there will be plenty more . Yet, it’s hard to write a review without at least considering the comparison, and I thought I had two choices, ignore the comparisons completely, or jump on them with full gusto.

So, in my opinion, The Girl on the Train is a better novel than Gone Girl. The twist were more surprising, the set up more unique, and the characters more complex. While Gone Girls relied on it’s tricks to drive the story, Hawkins relies on her strong characterization and unique use of perspective to create a true mystery that never telegraphs its moves. Hawkins plays on our personal misconceptions about gender and class to effectively shape the narrative, creating a unique storytelling style. She often uses what we know or think we know against us. Her characters are unreliable, not because it allows her to surprise us with twists, but because humans are unreliable. Being that we too are unreliable, as readers, we create blocks and misconceptions that she exploits. While the twists aren’t as big as Gone Girl’s twist, I personally felt they were more effective. While the comparisons exist, The Girl on the Train stands on its own both as a thrilling mystery and a intriguing look at some well drawn yet complicated characters.

There are those of us Americans who believe that all British people basically sound the same, so what would be the point in casting three different British narrators to narrate this tale? As with many things, we are so wrong. Clare Corbett, India Fisher and Loise Brealey’s narration enhances this book, giving each character just the right feel that I doubt a singular narrator could achieve. The three narrators helped create three distinct characters, aiding in their development. With the way that the interlocking narratives and tricks of perspective played it, it was vital for each character to have her own distinct voice, otherwise the plot, which often balanced on the razors edge, would have been torn to shreds Yet, instead of this potential mess, The Girl on the Train was one of the most taunt, surprising novels I have read in a while, and easily my favorite audiobook of 2015 thus far.





Audiobook Review: The Silent History by Eli Horowitz, Matthew Derby and Kevin Moffett

18 02 2015

The Silent History by Eli Horowitz, Matthew Derby and Kevin Moffett

Read by Gabra Zackman and LJ Ganser

Audible Studios

Length: 14Hrs 1 Min

Genre: Science Fiction

Grade: B+

The Silent History is supposed to be some evolutionary experiment in story telling, originally using an I-App to tell the story serially through a series of testimonials. I really don’t know about all that. I know, nowadays with the E-Book explosion and new ways of telling stories that for many, format is almost as important as content Yet, since I listened to it on audio and the testimonial style of storytelling has been done by writers as diverse as Dickens, Max Books and most recently Sarah Lotz, the “revolutionary” aspect of The Silent History had very little influence on me. For me, it comes down to just how good of a story it was.

The Silent History has a quasi-apocalyptic set up. Children around the world are being born without the ability to speak. While this doesn’t lead to complete breakdown, it essentially changes the very nature of society. Told in testimonial format, we get first hand perspectives into the changes and adaptations of the world. One of the best aspects of the novel is how the multiple, biased view points creates an unreliable narrative, often showing us important events from multiple perspectives. This immerses , the reader into the world, becoming the arbiter of the values of the time. The authors never seem to pick sides in the tale, just present the individual’s stories.

On a personal level, what really drew me into the story is the underlying question of the nature of disability. Being that I work with people with severe handicaps and have a nephew on the ASD spectrum, the debate into whether The Silents were in fact handicapped due to the fact that they deviated from the norm, or were just another version of humanity hit close to home for me. The authors do a great job presenting the multiple issues in this debate, from those hate anything that is different, to those who want to save them to those who want to raise them up to an almost religious level. The authors showed us how the many sides of the issues, positive and negative, can marginalize those that it most affects. The story did a wonderful job showing us the people involved without telling us how to feel.

The Silent History is smart, well told near future Science Fiction. The quick perspective changes and future history style keeps the reader relatively engaged. With this storytelling style, quick and short works better, and can be effective in adding to tension. For the most part, the authors achieve this. It is a bit overly long, and by the end of the novel I definitely was starting to get a bit of readers fatigue. While the authors brought it together in a unique and compelling way, the long path blunted some of the endings impact.

While the audio version may have lessened the revolutionary aspect of the format of the storytelling, the performances of the narrators elevated the story. Right now, it would be hard to convince me that Gabra Zackman is a singular person. Her broad range of characters were completely distinct and spot on. LJ Ganser also showed great range, with the multiple ages and eccentricities of the characters. Both narrates fully utilized the freedoms of first person storytelling to make this truly feel like a documentary instead of a dry historical reading. Both narrators managed to build tension into the tale, while briskly moving the story along. The Silent History works in audio, largely due to the wonderful nuanced performances of these talented narrators.





Audiobook Review: Jonathan Strange & Mr. Norrell by Susanna Clarke

12 02 2015

Jonathan Strange & Mr. Norrell by Susanna Clarke

Read by Simon Prebble

Macmillan Audio

Length: 32Hrs 2Min

Genre: Fantasy

Grade: A-

A wonderfully performed audiobook can be like music sometimes, it pulls you in with it’s beauty, mesmerizes you with it’s rhythms and cadence and puts you in a altered state. The problem with this is, when the story isn’t as engaging, or you are in a relaxed state, you begin to listen and appreciate the performance more so than what is being performed. You enjoy the experience, and find yourself floating in the music of the words, yet sometimes losing the context behind them. The positive side of this, is sometimes, simple the beauty of the performance keeps you in the game long enough to get sucked into it.

This was in someways my experience with Jonathon Strange & Mr. Norrell, a lavishly written and brilliantly performed fantasy opus about the reemergence of magic to England. For the first third of the novel, I found myself drifting at times. Simon Prebble’s narration carried me away like a master musician, yet the story itself, at times, lost me. Jonathon Strange & Mr. Norrell should have been an extremely hard novel to perform, with frequent sidetrips and added footnotes, that for some narrators would have disrupted the rhythms of the prose, yet Prebble weaves them together flawlessly, making each side trip just another thread in a grand tapestry. It wasn’t until about the 10 hour point, when Strange was working his magic in the aid of England against Napoleon in Spain the performance and story crash together making each worthy of the other.

I choose to listen to Jonathon Strange & Mr. Norrell, after years of hesitation, due to the coming BBC series. I feared the 30 hour time frame, but decided to take the ride. So, this review comes with a big, “late to the party” feel. Do I really need to “review” a novel that had reached such acclaim? All I can do is talk about my experience. Jonathon Strange and Mr. Norrell blends historical and fantasy fiction in a unique way that I loved. It’s told not in a straight path, or even in a non-linear but focused story, but instead the story is like a maze, taking you in many directions, with only a few leading back to the main body of the tail. In many ways, it’s the unconnected side trips that build the heart of the novel. While the battle between Jonathon Strange & Mr. Norrell serves as the base story, the beauty comes in the deeper world that surrounds these narcissistic characters and their almost petty fueding.

I was hesitant to start this novel for many reasons, yet I am glad I took the leap. At times the listening to this audiobook felt like I was sitting in a warm comfortable room, sipping some cocoa while a slightly eccentric but engaging old man tells me of times long ago full of just enough embellishments and asides that the tale feels almost real.





Audiobook Review: Symbiont by Mira Grant

5 02 2015

Symbiont (Parasitology, Bk. 2) by Mira Grant

Read by Christine Lakin

Hachette Audio

Length: 16Hrs 47Min

Genre: Science Fiction/Horror

Grade: B+

When Parasite came out, I was so excited. Mira Grant is like, the modern god of the scientific horror novel of some hyperbole. I loved the Newsflesh series, and was excited to see what she would do next. Plus, the book was about sentient tapeworms taking over their human hosts. Honestly, if you can’t get excited about sentient tapeworms taking over their human host then you probably aren’t my people.

Honestly, I should make that my online dating profile. Just list weird bizarre things that make me squeal and jump up and down in morbid glee, and if that makes you think I’m a bit weird, and the idea that being a bit weird is a negative aspect, well, you should probably pass on me.

So, Parasite came out. It was good….

I mean, I liked it but…

It really was pretty damn good…

OK, so basically, it wasn’t totally awesome, and I set myself up for totally awesome, so even pretty damn good was a bit of a letdown. So, I was less excited when Symbiont came out….

Symbiont, was pretty damn good. It’s hard to say whether I liked it more than Parasite or if my lessened anticipation just made it more fulfilling, either way, except for a few minor quibbles, Symbiont was maybe lightly brushing up against awesome.

Mira Grant has a great concept with this series, and Symbiont continues to explore it. Yet, despite the original concept, Grant storytelling has a traditional comfortable feel. This is actually a complement. Many authors today value style so high it gets in the way of a good story. Grant seems to know that no matter how unique the setting of concept, the story has to be accessible and compelling. While she spends a bit too much time on Sal/Sally’s internal struggles, she keeps the story moving forward with strong action and interesting characters. As Symbiont is the second book in series, the ending leaves a bit too much up in the air, which gives the take and incomplete feel, which, I guess is expected since the tale is, in fact, incomplete but I hoped for a bit more of a substantive ending. Symbiont moved the series in the right direction, giving us a greater glimpse of a world shattering around itself opening up space around the tale to give it a much bigger feel.

Christine Lakin gives a solid performance. Basically, she does her job and does it well. She has a pleasant voice, and is technically proficient. In all honestly, I really don’t remember much specifically about her performance. It won’t stand out as one of those amazing performances that remind me why I love audiobooks. Mostly, she just got out of the way of the story. Sometimes this is the best thing for a narrator to do. I think Symbiont could have benefited from a narrator that took a few more risks, but it also could have turned into an utter disaster, so I’ll take it.

If you liked Parasite, and don’t mind a few of Grants particular peccadilloes, than you will probably be quite satisfied with Symbiont. Just remember that this is just book two in a series, so don’t expect to feel like anything has actually been accomplished.





Audiobook Review: The World House by Guy Adams

4 02 2015

The World House by Guy Adams

Read by Paul Boehmer

Audible Studios

Length: 10Hrs 43Min

Genre: Fantasy

Grade: C-

I’m not sure what just friggin’ happened. I mean, I kinda know. There are these characters, and a weird house, and time travel, and god like people, and amnesia, and a cool game of Snakes and Ladders, and I think that one guy is also that other guy or maybe I am thinking about someone else. Oh, and that girl is like maybe autistic, which of course means she has some special ability or perception that will help save the world, or destroy it, or maybe stop the bad guy who I am not sure is really bad because that’s that’s what mentally challenged people do in fantasies… and, well, maybe I’m just an idiot who can’t follow the authors disjointed train of thought. I mean, I get this way with “high brow” stuff where I think I am supposed to get it. Like Birdman, which I guess had moments, but still, I didn’t get it. Like art or jazz or that weird class of philosophy I took…

But…

Shit…

So really, maybe Guy Adams is a genius who created this beautiful mosaic of a novel, full of complexities and layers upon layers, creating a mesmerizing tale that blends generations and genres and I am just too dumb to figure it all out. I know I feel like this when I attempt to read China Mellville and Paolo Bacigalupi, which people I respect tell me is brilliant, but turns my brains to mash, and, well, kinda bores me at the same time making me want to pull out something with explody monsters hunters or time traveling Nazis.

Or maybe Guy Adams just wrote a book that had some brilliant moments, was fun at brief intervals but was mostly a mess that barely held my interest and often left me confused about exactly what the hell just happened.

But maybe not…

I’m confused.

One thing I like about Paul Boehmer is that he has a unique narrative voice. His voice has a tone that reflects an international feel yet isn’t specific to any particular nationality. It reminds me of the subtle accents that many 1800 era American period pieces use, not really modern American or Modern British but somewhere in between. This is why I think Boehmer is excellent in historical fiction and has been underused in the fantasy genre where straight British accents seem to be the preference of audio producers. This is why I thought he was perfectly suited for a book like The World House. But, now I am not so sure he was, mostly because I really didn’t care about the book enough to figure it out. His characters were fine. I often found the perspective shifts were not distinct enough, but this may just have been because I wasn’t invested enough in the characters to realize that they had shifted.

Oh well….

Basically, The World House was a book that constantly had me on the edge of thinking,”Let’s end this and move on to something else” but that little part of me said that eventually there would be this sort of AHA! Moment that pulled it all together and made it worth it. And I guess there was something like that, but by that point I just wanted it all to be over.

Now maybe some time traveling zombies or talking unicorns or sexy dragons….





Audiobook Series Review: Terms of Enlistment and Lines of Departure by Marko Kloos (Frontlines Series)

26 01 2015

The Frontlines Series by Marko Kloos

Terms of Enlistment

Length: 9Hrs 40Min

Lines of Departure

Length: 9Hrs 7Min

Read by Luke Daniels

Brilliance Audio

Genre: Military Science Fiction

Grade: B

I am a sucker for End of Year lists. I always find new and interesting books by pursuing the Best of… lists put out by Industry people and bloggers. While checking out the Goodreads and Audible lists, I saw a title I was aware of, but was surprised to see on such lists. At first glance, Marko Kloos Frontlines series, with books Terms of Enlistment and Lines of Departure seemed like pretty much by the numbers Military Science Fiction in the vein of John Scalzi and Jack Campbell, so I was surprised to see getting such high praise. Yet, then I realize, Old Man’s War and the Black Jack Geary military SF series are some of my favorites, so why not give it a go. The Frontline series is basically just what I expected, solid military science fiction with a likable main character. The writing is solid, with much less of the pulpy cheese factor of series like BV Larson’s Star Force yet with just as much fun. While at times I got a little lost in the extended action scenes, Kloos does a good job, especially on Lines of Departure, setting up intriguing scenarios reminiscent of classic Military science fiction, yet spins it just enough to give it it’s own flavor. One of the highlights of the book is the unique nature of its alien enemy, but the true heart of the novel explores the murkiness of domestic life, with some well drawn internal sociopolitical conflicts giving the tale a multilayered approach. Fans of classic Military science fiction will find this series a step up from much of the current offerings available in terms quality and enjoyment.

Often times the term workhorse is applied to a mediocre position player who always seems to find himself in the game. Well, Luke Daniels is a workhorse in the Audiobook Industry, with one glaring exception, his performances are never mediocre. Daniels seems to be able to handle any genre at the drop of the hat, giving the performance of an expert. In Kloos’ series, Daniel shows off his ability to keep the action at a brisk pace while bringing the characters to life in intriguing ways. There is a reason why we see Luke Daniels as the narrator of so many audiobooks, his performances always manages to bring the most out of the books he is reading.