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Recent Titles in Libraries Unlimited Read On Series Barry Trott, Series Editor Read On . . . Historical Fiction: Reading Lists for Every Taste Brad Hooper Read On . . . Horror Fiction: Reading Lists for Every Taste June Michele Pulliam and Anthony J. Fonseca Read On . . . Fantasy Fiction: Reading Lists for Every Taste Neil Hollands Read On . . . Crime Fiction: Reading Lists for Every Taste Barry Trott Read On . . . Womens Fiction: Reading Lists for Every Taste Rebecca Vnuk Read On . . . Life Stories: Reading Lists for Every Taste Rosalind Reisner Read On . . . Science Fiction: Reading Lists for Every Taste Steven A. Torres-Roman
Read On . . . Audiobooks
Reading Lists for Every Taste
Joyce G. Saricks
Copyright 2011 by Joyce G. Saricks All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review or use in educational, not-for-profit settings, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Saricks, Joyce G. Read On Audiobooks : Reading Lists for Every Taste / Joyce G. Saricks. p. cm. (Read On Series) Summary: With more than 300 original annotations in some 60 thematic lists, this one-of-a kind compilation opens the world of audiobooks to listeners and librarians alike Provided by publisher. Includes bibliographical references and index. ISBN 978-1-59158-804-7 (pbk. : acid-free paper) ISBN 978-1-59158-807-8 (ebook) 1. AudiobooksUnited StatesCatalogs. 2. LibrariesSpecial collectionsAudiobooks. 3. Readers advisory servicesUnited States. I. Title. ZA4750.S37 2011 011'.384dc22 2010051372 ISBN: 978-1-59158-804-7 EISBN: 978-1-59158-807-8 15 14 13 12 11 1 2 3 4 5 This book is also available on the World Wide Web as an eBook. Visit www.abc-clio.com for details. Libraries Unlimited An Imprint of ABC-CLIO, LLC ABC-CLIO, LLC 130 Cremona Drive, P.O. Box 1911 Santa Barbara, California 93116-1911 This book is printed on acid-free paper Manufactured in the United States of America
Contents
Series Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiii Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv The Audiobook Phenomenon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvi Working with Listeners and Audiobooks . . . . . . . . . . . . . . . . . . . . . . . xvi A Note about This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xviii Chapter One: Language/Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 All the Worlds an Audiobook: Full Cast Readings . . . . . . . . . . . . . . . . . . 2 Twice the Talent: Authors as Narrators . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Gone but Not Forgotten: Great Narrators Who Have Died . . . . . . . . . . . . 6 Its a Mans World: Compelling Male Narrators . . . . . . . . . . . . . . . . . . . . 8 Lets Hear It from the Ladies: Engaging Female Narrators . . . . . . . . . . . 11 A Literary Gazetteer: Well Written and Well Spoken . . . . . . . . . . . . . . . 14 One Story, Many Voices: Multiple Narrators . . . . . . . . . . . . . . . . . . . . . . 16 Unique Voices: Characters You Never Expected to Hear . . . . . . . . . . . . . 18 Phonetic Genius: Virtuoso Performances . . . . . . . . . . . . . . . . . . . . . . . . . 20 Chapter Two: Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sleepless Nights: Stories with Haunting Atmospheres . . . . . . . . . . . . . . Curl Up in Your Easy Chair: Comfortable Listening . . . . . . . . . . . . . . . . Dont Look Now: Dark and Disturbing . . . . . . . . . . . . . . . . . . . . . . . . . . More than Meets the Eye: Edgy, Thoughtful Tales . . . . . . . . . . . . . . . . . Laugh Out Loud Listening: Humorous Stories . . . . . . . . . . . . . . . . . . . . Into the Heart of Darkness: Dangerous Confrontations . . . . . . . . . . . . . . On the Edge of Your Chair: Suspenseful Tales. . . . . . . . . . . . . . . . . . . . . A Ghost for Every Listener: Modern Gothic Tales . . . . . . . . . . . . . . . . . Love and Laughter: Romantic Comedy . . . . . . . . . . . . . . . . . . . . . . . . . . Chapter Three: Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lasting Pleasures: Classics Come Alive. . . . . . . . . . . . . . . . . . . . . . . . . . Adrenaline Redux: Classic Thrillers . . . . . . . . . . . . . . . . . . . . . . . . . . . . Oh No! Disaster Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Suspenseful Mixology: Genre Blends . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 24 25 27 29 31 32 34 36 38 41 41 43 45 46
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Golden Oldies: Classic Mysteries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Its All in the Detailsand Its All Details: Microhistories . . . . . . . . . . . Its the Law: Legal Thrillers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Layered Tales: Fact and Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Other Voices: Multicultural Experiences . . . . . . . . . . . . . . . . . . . . . . . . . On the Front: Action-Packed War Stories . . . . . . . . . . . . . . . . . . . . . . . . Those Left Behind: On the Home Front . . . . . . . . . . . . . . . . . . . . . . . . . . Adventure with a Purpose: The Quest . . . . . . . . . . . . . . . . . . . . . . . . . . . Reading the Bones: Forensic Evidence . . . . . . . . . . . . . . . . . . . . . . . . . . Of Mythic Proportions: Retelling Classic Tales . . . . . . . . . . . . . . . . . . . . The Real Story: Exceptional Nonfiction Recordings . . . . . . . . . . . . . . . . Timely Tales: Fiction Ripped from the Headlines . . . . . . . . . . . . . . . . . . Under Occupation: War Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 50 52 54 56 57 59 61 63 65 67 69 71
Chapter Four: Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 All in the Family: Family Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 The Good, the Bad, and the Nosey: Amateur Sleuths . . . . . . . . . . . . . . . 77 Learning Lifes Lessons: Coming-of-Age Tales . . . . . . . . . . . . . . . . . . . 79 Women with Spunk: Feisty Females in Fiction . . . . . . . . . . . . . . . . . . . . 80 Herstory: Historical Fiction from a Female Perspective . . . . . . . . . . . . . 82 Inside Their Heads: Psychological Suspense . . . . . . . . . . . . . . . . . . . . . . 84 Just the Facts, Maam: Police Detective Stories. . . . . . . . . . . . . . . . . . . . 86 From History to Myth: Legendary Heroes and Heroines . . . . . . . . . . . . . 88 A Mans Got to Make a Living: Assassin Heroes and Antiheroes . . . . . . 89 When Life Imitates Art: Audio Memoirs . . . . . . . . . . . . . . . . . . . . . . . . . 91 Down These Mean Streets: Gregarious Gumshoes . . . . . . . . . . . . . . . . . 93 Real People: Biographies Worth Listening To . . . . . . . . . . . . . . . . . . . . . 95 Real People in Fictional Worlds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Uneasy Lies the Crown: Stories about Royalty . . . . . . . . . . . . . . . . . . . . 98 Second Bananas: Sidekicks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Dont You Believe Them!: Unreliable Narrators . . . . . . . . . . . . . . . . . . 102 Up Close and Personal: First-Person Accounts . . . . . . . . . . . . . . . . . . . 103 By Women, for Women: Womens Lives and Relationships . . . . . . . . . 105 Chapter Five: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . We Are So Not Amused: The Dark Side of Amusement Parks . . . . . . . Not in Kansas Anymore: Fabulous, Fantastic Worlds . . . . . . . . . . . . . . Like Being There: Audio for the Armchair Traveler . . . . . . . . . . . . . . . Lifes Rough Edges: Hard Times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Past Transgressions: Historical Mysteries . . . . . . . . . . . . . . . . . . . . . . . Other Times, Other Places: Historical Fiction . . . . . . . . . . . . . . . . . . . . 109 109 111 113 115 116 118
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120 122 124 126 127 129
Global Sleuthing: Mysteries around the World . . . . . . . . . . . . . . . . . . . On the Road Again: Travel Narratives . . . . . . . . . . . . . . . . . . . . . . . . . . Then and Now: Dual Story Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Starring Mother Nature: Weather-Based Stories . . . . . . . . . . . . . . . . . . Wide-Open Spaces: Stories Set in the Great Outdoors . . . . . . . . . . . . . The Wild West, Then and Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Series Foreword
Welcome to Libraries Unlimiteds Read On series of fiction and nonfiction genre guides for readers advisors and for readers. The Read On series introduces readers and those who work with them to new ways of looking at books, genres, and reading interests. Over the past decade, readers advisory services have become vital in public libraries. A quick glance at the schedule of any library conference at the state or national level will reveal a wealth of programs on various aspects of connecting readers to books they will enjoy. Working with unfamiliar genres or types of reading can be a challenge, particularly for those new to the field. Equally, readers may find it a bit overwhelming to look for books outside their favorite authors and preferred reading interests. The titles in the Read On series offer you a new way to approach reading: they introduce you a broad sampling of materials available in a given genre; they offer you new directions to explore in a genrethrough appeal features and unconventional topics; they help readers advisors better understand and navigate genres with which they are less familiar; and they provide reading lists that you can use to create quick displays, include on your library Web sites and in the library newsletter, or to hand out to readers. The lists in the Read On series are arranged in sections based on appeal characteristicsstory, character, setting, and language (as described in Joyce Sarickss Readers Advisory Services in the Public Library, 3d ed., ALA Editions, 2005), with a fifth section on mood. These are hidden elements of a book that attract readers. Remember that a book can have multiple appeal factors; and sometimes readers are drawn to a particular book for several factors, while other times for only one. In the Read On lists, titles are placed according to their primary appeal characteristics, and then put into a list that reflects common reading interests. So if you are working with a reader who loves fantasy that features quests for magical objects or a reader who is interested in memoirs with a strong sense of place you will be able to find a list of titles whose main appeal centers around this search. Each list indicates a title that is an especially good starting place for readers, an exemplar of that appeal characteristic.
Acknowledgments
First, thanks to Barry Trott for suggesting this idea and to him and Barbara Ittner for shepherding me through the process. Their enthusiasm and suggestions have been invaluable, and I am endlessly grateful for their support. Thanks also to the Downers Grove Public Library and the Department of Literature and Audio Services staff who have been endlessly helpful in providing me with audiobooks from their collection and from surrounding libraries. I am so lucky to live in a community with a great library and in a state with a great library system. I have relied on friends and colleagues for suggestions throughout, and I thank you all. In particular, I have been lucky in my readers, who, in spite of this ordeal, have remained good friends. Marty Charles slogged through all the annotations and checked bibliographic details. A thankless task, but she has also shared some of my favorite listening experiences on long car tripsand will continue to do so, I hope. Sue OBrien read and fearlessly critiqued all the annotations. For almost 20 years she has read and edited my writing, and I am grateful for her keen eye, excellent suggestions, and enthusiasm. Neal Wyatt continues to inspire me to explore deeper into the art of readers advisory. Her thoughtful suggestions and spot-on criticisms have improved this manuscript and kept me on my toes. My deep and abiding pleasure in stories read aloudand now in audiobookshas been aided and abetted by my husband Chris, with whom I have shared this agreeable addiction for more than 40 years. Our listening today may be more diverse than in the first years of our marriage when we read aloud the novels of Wilkie Collins, The Lord of the Rings, and The Divine Comedy, along with David Darys excellent True Tales of the Old Time Plains and more. Now we share audiobooks, easier on our voices and on my stomach on twisting roads. Thanks always to Chris for reading and commenting on this manuscript and for sharing my pleasure in audiobooks.
Introduction
I have frequently acknowledged my addiction to audiobooks. I love listening, having a story wash over me while driving, shopping, walking, or waiting (in line or for an appointment). Audiobooks consistently see me through times when reading actual books would be inconvenient. The titles described in this book represent but a fraction of the audiobooks I have enjoyed over the past few decades. Frankly, Im afraid to add up the hours they represent, even though I know that most of my listening was done while I was involved in other activities. Indeed, one of the greatest advantages of audiobooks is that listening is quite conducive to multitasking and thus allows avid readers to fit more stories into their lives. Because so many library patrons feel the same way, it is important for readers advisors to become familiar with the format and the stars of audiobook narration. In the past decades, audiobooks have become one of the most popular sections of the library; and today they account for a significant portion of the materials budget. Audiobook circulation grows so much every year that it often seems impossible to keep up with the demands of fans, both in terms of our collections and the kind of assistance we can provide in helping them find the listening experiences they seek. Furthermore, librarians and listeners have become increasingly aware of the dearth of materials available to help them make selections of what to listen to next. The chapters in this book are grouped by conventional appeal termslanguage, mood, story, character, and setting. Each chapter offers lists to help listeners match their interests and sensibilities to audiobook suggestions. The lists can be used to identify listen-alikes and next listens, as well as to post on your library Web site or in the library newsletter, or to create multimedia displays. Because all of the titles in this guide are recommended, this book might also be employed for collection development. Within the appeal categories, these lists offer a wide range of listening experiences, both enjoyable and provocative. While I hope listeners will find new titles to enjoy, I expect these lists will remind them of their favorite books as well. Because audiobooks are so portable, they often expand a listeners reading time. Why not revisit favorite authors and titles through another medium rather than simply rereading? I also hope these lists take listeners in directions they might never have explored before. Why not try an author or a subject you might never sit down and read but are willing to listen to while gardening or walking or
xvi Introduction
driving? These lists can help listeners and librarians alike explore the pleasures of audiobooks.
Introduction
xvii
ers can often be lured to move beyond their usual choices by the promise of an interesting title or a popular narrator. Narrators often play a more important role in listener choices than the author, title, or subject of the audiobook. Many audiobook fans have narrators they loveand will listen to everything they readas well as narrators they dont like and might avoid listening to at all costs. This makes it both harder and easier to choose titles and to advise listeners. It makes it harder, because in addition to finding a title the listener might like, we must also consider the appeal of the narrator. It makes it easier, because with so many factors involved, we can simply suggest a range of titles and remind listeners to bring back the titles that dont suit them. There are also issues unique to the audiobook format. If a book is poorly written, every fault is magnified in the audio version. Listeners cant escape the clunky dialog, poor characterizations, or gaping holes in the plot; they hear every word. A good narrator can make a good book better, but even the best narrators cant save poorly written books. Trigger points (graphic sex, gratuitous violence, and profanity) that potentially offend readers and listeners are amplified by an audio format, especially if we are listening with headphones. Theres no escaping a violent beating or vicious languageits right there in our heads. Another disadvantage of audiobooks is that the listener doesnt have an opportunity to reflect, unless he stops the recording or goes back to listen again. With traditional book formats it is easier to scan the pages to find what youre looking for. Audio is not the answer for every book or every listening need. On the other hand, anything with dialect is much more easily understood on audio. Students assigned Zora Neale Hurstons classic novel Their Eyes Were Watching God often do better with the audio version. Dialect heard is more readily understood than dialect read in print. Long, story-centered novels also work well in audio for many listeners. The story can be listened to in one long stretch or in short pieces, but the narrator does all the work. We listeners just sit back and enjoy. I confess Im often surprised at how quickly some of the really big books move. I become so engrossed in the story and the pleasure of listening that I barely notice how many hours Ive spent on the book. I struggled to read Orhan Pamuks My Name Is Red, but when those 400+ pages were translated into 20 hours of listening in John Lees seductive narration, I was completely caught up in the story and time flew by. And for those who dont make nonfiction their first reading choice, nonfiction on audio becomes more accessible. Skilled narrators animate the facts and details and create absorbing listening experiences from books that might otherwise seem overwhelming. I personally would never have managed David McCulloughs The Path between the Seas: The Creation of the Panama Canal,
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1870 1914 or The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge without the audio versions.
Introduction
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all these possibilities. Among these pages are captivating stories to keep families entertained on car trips, groupings of novels that take you beyond subject headings, fiction and nonfiction that transport you to other times and places, classics waiting to be resurrected and rediscovered, and atmospheric tales that are enhanced when read aloud. While the lists address a range of topics and moods, all provide dependable listening experiences. So browse these lists at your leisure, and find something new to enjoyand, in many cases, hard to forget.