Stina Nielsen narrates this alternate feminist history. Sylvie sets out to tell her life's story for her twins whom she gave up at birth because she was unmarried. In 1862 she moved from Kentucky to Nashville in search of her sister. She brought with her a lost play by Aristophanes, which is centered on a cult serving Artemis that seeks chaos to disrupt the patriarchal business of war. Then she finds that the cult still exists. Nielson doesn't attempt to use accents to distinguish the characters as Sylvie tells her story. She adopts a persona for Sylvie, and everyone else is filtered through Sylvie. Nielson portrays Sylvie as disciplined and controlled, but underneath lies profound emotion.
Pub Date: July 9, 2024
Duration: 8 hrs, 45 mins
DD ISBN: 9798891788305
Publisher: Recorded Books Inc.
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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