Barrie Kealoha narrates this intriguing look at friendship and social media. Twenty-six-year-old Maia lives in Milan with an older, accomplished boyfriend. While working as a part-time waitress at a local bar, she's given the opportunity to work for an 18-year-old influencer. Gloria becomes enamored with Maia and her truthful take on life. As Maia and Gloria grow closer, Maia steps over the line, and her new life falls apart. Sadly, the absence of an Italian accent or inflection fails to create a sense of place in this translated Italian gem. But Kealoha captures Maia's vacant drug-induced emotions well. She also ensures that characters are easily identifiable through subtle changes of inflection.
Pub Date: Jan. 22, 2024
Duration: 7 hrs, 15 mins
Publisher: Europa Editions
Review Posted Online: Jan. 22, 2026
American colleges are favorable locales for ghastly event and hair-tearing circumstance. There is, for instance, a good deal of pleasure to be had out of professor and past-prodigy Grady Tripp's awful life, as portrayed by Michael Chabon in WONDER BOYS. There is a certain amount of slapstick here, but it's balanced by Chabon's superb portrait of a gale-force mid-life crisis, a soul-destroying albatross of an unfinished novel and the mind-numbing inconsequence of writers' conferences. David Colacci sounds a little starved for oxygen in his reading, but that's not exactly out of keeping with Grady Tripp's personal gestalt.
Pub Date: N/A
Duration: N/A
Publisher: Brilliance Audio
Review Posted Online: Jan. 22, 2026
Class lurks in varying degrees behind every great English comedy, its ineffable code being so endlessly conducive to ironic subtlety. QUEEN LUCIA, the first of the great Lucia novels of E.F. Benson, is imbued with it. Nonetheless, social striving rather than class per se gives the novel its real comic force. At its center is Lucia, the regnant, self-appointed social and cultural leader of a genteel, middle-class circle. She’s a schemer and poser of awesome theatricality and self-delusion. Although the narrative is conducted in the third person, the characters’ doings, most especially Lucia’s, are as often as not reported in the light in which the perpetrators hope to be viewed. Still, the true facts and motivations, usually base, shine luminously through. Geraldine McEwen’s reading truly enhances the work, being a model of cultivated discretion and ironic pacing.
Pub Date: N/A
Duration: 9 hrs
Publisher: ISIS Audio Books
Review Posted Online: Jan. 22, 2026
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