On their first night Carrie had been nervous, and Slater had tried to think of some way to make it easier for her, to show her how fine and free it could be. But the moment they’d stepped into the cabin, she had undressed, matter-of-factly, a cigarette dangling from her lips. Her body was white and incredibly lovely, and Slater had felt desire engulf him. He had held her, hungrily, and hardly listened to the one thing she’d said. '"I don’t think I’ll be much good at this." She had been so cruelly right. And that, in a way, was what had killed her. That, and a beautiful woman named Jenny....
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I really wanted to like it...
The reading had problems. It is hard to believe the reader could speak so slowly. I almost believe the recording was slowed down in post-production. Even at x2 speed it was slower than normal conversational speech. I ended up listening at x3.
I was hopeful at first because at the start the female character dialog was not read in falsetto but then about an hour in the reader starting using a lisping falsetto for all the female dialog.
Furthermore the story is set in Western New York with some characters coming from Buffalo but the reader drifts between American Standard and sloppy Brooklyn, Lower East Side and Yonkers accents for each character while returning again and again to a heavy Upper Class Boston accent and occasionally dropping down below the Mason-Dixon Line.
If the reader can't sustain a given accent or replicate an appropriate regional accent why not just stick to American standard or even the thespian over-enunciation stage English he is prone to falling into in the midst of his dialog accents.
I don't require an authentic accent, I recently enjoyed a story set in Long Island New York read by an Australian in her own national accent, but some consistency is nice. I got the impression the reader thought these strange erratic accents were an indicator of class somehow.
As for the writing, I had expected this book to be a Pulp Noir for some reason but it was a melodrama that moved at a glacial pace but didn't feature any character development, not even of the principal characters. The experience was sort of like a marathon viewing of the British soap opera Coronation Street. I hope this was a pot boiler and not a reflection of the authors actual writing skills.
Anyone capable of a consistent accent of any sort who did not do female dialog in falsetto. Kate Rudd sounds good in samples but I have not heard her do a full book.
Longest five hours of my life... might be perfect for a long car ride or plane flight.
- Vicki Moris