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Publisher's Summary

Praise for Nick Offerman narrating Mark Twain:
“Offerman’s Illinois-raised voice and actor’s talent suit him ideally to channel Mark Twain.” (The New York Times Book Review)
“There’s something about his wry Midwestern merriment that aspires to Twainishness.” (Men’s Journal)
“It’s a melding of sardonic voices: Mark Twain, meet Nick Offerman.” (The Wall Street Journal)
With his trademark mirth and boundless charisma, actor Nick Offerman brought the loveable shenanigans of Twain's adolescent hero to life in The Adventures of Tom Sawyer. Now, in yet another virtuosic performance, the actor proves that despite being separated by a span of over a century, his connection to the author and his work is undeniable and that theirs is a timeless collaboration that should not be missed. Trading in the idyllic banks of Twain's Mississippi for medieval England, Offerman regales listeners with one of American literature's foremost satires and the author's most inventive and darkly funny pieces of fiction.
Hank Morgan is the archetype of modern man in 19th-century New England: adept at his trade as a mechanic, innovative, forward thinking. So when a blow to the head inexplicably sends him back in time 1300 years and places him in Camelot, instead of despair, he feels emboldened by the prospect placed before him and sets out to modernize and improve the lives of his fellow citizens. But, in order to do so, he'll need to contend with brash nobles, superstitious nincompoops, and a conniving, blowhard wizard.
While time travel has become a common trope in storytelling today, in Twain's time it was truly a novel idea; all the more imaginative when you consider how it's used for satirical effect. A thinly veiled critique of the political and social institutions that impede progress and a scathing condemnation of the naiveté that allows them to thrive, A Connecticut Yankee in King Arthur's Court saw Twain's biting wit and sharp tongue honed to a fine point.
Told primarily through Hank's first-person perspective, Offerman effortlessly captures the Yankee's straightforward, matter-of-fact gruffness. Like Offerman - whose woodworking skills are the stuff of legend - Hank is a natural builder of things and his can-do, by-the-bootstraps spirit finds its vocal foil in Offerman's crisp delivery. But it's in Offerman's ability to convey the myriad characters and absurdities Hank faces that makes this an incomparable listening experience: the flowery embellishments and insane braggadocio of knights; the lilting, feathery sing-song of Clarence; the garrulous, long-winded pomp of the aristocracy; the old, dithering windbag pronouncements of Merlin. Offerman plays each of these with a humor and humanity that Twain himself would have enjoyed.
Public Domain (P)2017 Audible, Inc.
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Customer Reviews

Most Helpful

By Philip M. Chute on 10-23-17

Mark Twain and Nick Offerman are a perfect match

The narration is perfect for the wit and sarcasm throughout this classic. The book is timeless and still great fun. I hope Nick Offerman reads more of Twain's novels.

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4 of 4 people found this review helpful

By Paulb on 09-25-17

Nobody is better suited to reading this book

Nick Offerman is the perfect voice for this classic story. Wonderfully done. The best audio book I’ve listened to. The characters were well-performed, clear and distinct, and it was read in a comfortable and familiar way.

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4 of 4 people found this review helpful

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Customer Reviews

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By Stephen on 12-22-17

Brilliantly read

Nick Offerman is the perfect voice for Twain. He is a pleasure to listen to. The story itself is a pleasure too. Particularly if you are at all familiar with Thomas Malory's Morte D'Arthur or any of the King Arthur legends.

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By Amazon Customer on 09-29-17

Tedious and dispiriting

I thought I knew the story in essence but hadn't realised just how cynical Twain can be. This is not remotely the whimsical romp I had remembered from an old children's version and the Bing Grosby movie, but is rather a vehicle for the author's opinions on politics and especially established religion. He just goes on and on about it. There doesn't seem to be any aspect of the (mythical) Camelot that he likes. Everyone he meets is a fool, deluded by tradition and custom, in thrall to a perverse social system sustained by the Church. Even when you accept much of what he says at face value (the divine right of kings is an easy target), his monomania about it is wearing and there is very little humour to lighten the mood. The whole thing comes across like a pamphlet dressed up as a novel. It's like reading a 19th-century diatribe against cock-fighting.

The reading is extremely good, so the problem is with the material rather than the production.

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1 of 2 people found this review helpful

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