A Friend From England by Anita Brookner read by Cherie Lunghi

Rest, it seems, is a peculiarly English thing. Restfulness in all its timorous, melancholic glory cushions the indoor lives of Oscar and Dorrie Livingstone, in a peculiarly English way. Not as the accidental sidebar of an otherwise busied existence but as an aspiration, a calling, a rigorous end in itself.  Oscar is

…a bulky soft-voiced man with beautifully cared for hands. Something about him broadcasting the resignation of a schoolboy who has to submit to an inspection before he is allowed to leave the house.

All in all they are a placid wistful couple, resigned and melancholy by themselves and for each other. Well fed, well napped, well sheltered they form a restful destination for the nervous, ambitious, insecure and disinclined Rachel Kennedy who would have liked to see herself in this pink shell of kinship and central heating. Miss Kennedy takes up a remote and impassive alliance with Heather, the passive offspring of this mildly inert, mildly well off couple who accommodates her parents imagination by pretending to manage her own clothing shop in London, a Daisy Miller with short hair, unexcitable and worrisome.

She would glide from virginity to matronhood with no sense of a change in her condition. She would duplicate her mother, succeed her, and no doubt become the center of the family circle in her own home with the full approbation of that mother whom she planned so closely to copy… As she sat there emotionless and smiling in the midst of this agitated assembly,  she looked like the bride in a Breughel painting, as if she were already at her own wedding breakfast.

Rachel Kennedy lives a perfectly balanced and satisfyingly sombre life, too glad to come to rest at the Livingstone family home, to inhabit the functionary role of ‘friend’, to perform the duties of that functionary, like a glum, gloved observer at a greenhouse of rest. Here she studies English life, exacting a micro-analytics of personality and sensibility and mood as meticulous as a clinical formula.

This is where I leave you by Jonathan Tropper performed by Ramon de Ocampo

If you’re Jewish and you have a brother and he’s still married, this is NOT how he will sound after he divorces his goyishe wife who you’ve never liked anyway. Because the person reading this acid-funny tale doesn’t have the nasal force or the resentful irregularity or that specific Jewish brand of ironic despair in the face of public failure that dunks every insult, every complaint, every abusive remark (“This is my brother Judd… Judd is recently cuckolded.”) in borscht-belt tenderness.

When this brother is summoned home to your father’s funeral, he will be driving forward but wishing in reverse.

When people give directions to any home or business in West Covington they use [my parent's house] as a negative landmark. If you see the big white house then you’ve gone too far. Which is precisely what I’m thinking.

Your sister will have installed a high tech baby monitor in the front hall, so you can all hear the baby screaming in amplified stereo as you eat lunch but

…she doesn’t seem at all inclined to go upstairs and quiet the baby. “We’re letting her cry” she announces, like it’s a movement they’ve joined.

If you’re Jewish, this imaginary brother is sitting shiva in hell, i.e. surrounded by his family, thinking about his divorce from a beautiful woman who he had once been able to make laugh. Once, he’d

read enough Playboy … to know that beautiful women want a man who can make them laugh. Of course what they really meant was a man who can make them laugh after he delivered multiple orgasms on his private jet with his trustee 9 inch cock.

If you’re not Jewish, you already knew this. But you may be interested in this unhappy family’s way of being unhappy. I doubt it.

The Man Who Owns the News: Inside the Secret World of Rupert Murdoch by Michael Wolff read by Paul Boehmer

“The thing you have to understand and understanding this explains so much about Murdoch’s success is that happy newspaper families are alike and unhappy newspaper families are, well, quite alike too: in the end they all lose their papers. As cautionary tales go you could hardly find a more hothouse example of families gone awry, of genetic dumbing down, of the effect of idiot-son primogenitor, and of the despairing results of idle hands than newspaper families…The Bancrofts are ridiculous.”

The use and abuse of genealogy as evidenced in old world newspaper families told fetchingly, by a bitchy, fact-loving gossip.

Wolff reads Murdoch against his century, against his country, against his father and delivers a kind of King Solomon saga, with the years of degeneration yet to come….

A Drop of the Hard Stuff by Lawrence Block read by Tom Stechschulte

“Don’t make any major changes in the first year” … they say at AA. Matt Scudder has five or six weeks not to decide what he’s going to do about Jan, a girl he sees Saturday night and Sunday morning …

“Some people say not to make any major changes for the first five years… or even ten,” Jim, a fellow AA member, tells him.

After a meeting at St. Claire’s Hospital they walk home and Jim says:

“Something Buddha said as it happens: it is your dissatisfaction with what is that is the source of all your unhappiness..”

I said: “Buddha said that?”

“So I’m told, though I have to admit I wasn’t there to hear him. You seem surprised.”

“Well,” I said, “I never thought he had that much depth to him.”

“Buddha.”

“That’s what everybody calls him, and what he calls himself as far as that goes. Big guy. Must stand 6′ 6 . Shaves his head. Belly out to here. He’s a regular at the midnight meeting at the Moravian Church but he turns up other places as well. I think he’s a former outlaw biker and my guess is he’s done time but…”

The look on his face stopped me.

He said: “the Buddha. Sitting under the Bodhi tree, waiting for enlightenment.”

“Listen, it was a natural mistake. The only Buddha I know works at the Moravian Church.”

Making amends is step 8 of the 12 step program, and Jack Ellery is making amends when he ends up dead. His gay, persnickety, over-responsible sponsor has Jack’s list of amendees. He tells Matt Scudder that maybe he should “look into” whether somebody on the list is a killer. Matt Scudder does.

Dry, sidewalk humor full of alcohol and hotel rooms and pre-digital middle aged uncoupled city men. But also, that wry twist of fate that takes Order and Organization and runs over it.

This time, the Order is the Big Book and its steps: specifically step 8. How rules make themselves flesh, and how that flesh moves it’s rules around life and institutes life in their image.

Lawrence Block, The Specialists, read by Fred Sullivan

A hotel room. Vegas. A whore, with a gun at her forehead and a cock in her mouth. They told her downstairs that the guy was important, a banker. And that’s what she tells her friend when she gets home. Her friend is Colonel Eddie Manso, who has always known that you’ve got to draw a line. On one side of the line is good, and on the other is evil. Written in 1969, and evil looks exactly the same: a bunch of Wall Street types who spend months persuading people away from their money, a crook with a bank at his disposal, thugs in suits who rob banks and collect the insurance. Investors, loansharks, bankers, thieves.

And then there are the good guys. Veterans, educated in and by Vietnam. Still on duty, sort of.

The Ex-Debutante by Linda Frances Lee read by Susan Bennett

The smart daughter of a beautiful mother comes back to her “godforsaken sheep-happy hillbilly town” to handle her mother’s fourth or fifth divorce, and finds herself staging the annual Debutante Ball. “Don’t the pilgrims make skin cream?,” her mother asks her before mentioning how hard she has worked on maintaining her own natural beauty.
Miss Carlyle Ridgely, daughter of the Daughters of Texas, assembles 7 indelicate but moneyed 17 year olds, definitely not Ridgely Wainwright Cushing Jamison Ladley Ogden Harper-approved material.

Mary Higgins Clark…

Here’s the recipe: a youngish, pretty-ish, orphaned wife in or near Manhattan; a deceptive, felonious, or sleepwalking husband; a repressed or forgotten family scene, and wealth. Large, plush estates in tony suburbs, classic co-ops on exclusive avenues, perfectly cut clothes and lawns, professionally designed apartments, luxurious offices, always seen as if by a dazzled outsider, a maid, a secretary, a clerk, a tradesman to a privileged class.

Somewhere, somehow, somebody is murdered, kidnapped, arrested, accused.

A crime develops by pulling at and pulling out the pins of identity: what happens if a person forgets what she has done? What happens when a person has no memories of a mother, a father? What happens when a person believes that she is married to a man who is not who he pretends to be? What happens when a person does not tell her husband about her past? What happens when a friend, a neighbor, a son, a sister, a priest, a doctor, a lawyer is untrustworthy? What happens when a child is removed from a mother, and a mother is removed from her child? What happens to a classy woman when she is removed from her class?

Calibre by Ken Bruen read by Gerard Doyle

Jim Thompson’s The Killer Inside Me hard boils the story from the start: London as the small bad city with its own 87th precinct: Brant, who cuts a bit off the top of every drug bust, makes himself loved by women, plays laid back surfer dude cop but functions as the magus and manipulates everybody’s fate; Macdonald: the aged bully with the mean little soul and the overblown self-estimate; Porter Nash: the gay cop; W.P.C. Falls the bitch black psychopathic girlcop with the knuckle dusters in her purse; P.C. Lane: tall and lanky nerd cop who carries an umbrella and wears an “expression of friendliness, the very worst thing for a cop,”; Chief Inspector Roberts & more.
A silly accountant whose whore lives across the street decides to play Miss Manners with an edge, and finds he enjoys killing people who behave badly in public.

Slick with references that both emulate and parody the grittiest American fiction (Robert B. Parker, Karin Fossom, Ed McBain, Andrew Vachss, Elmore Leonard, Newton Thornberg, Mankell, Willeford, Joe Lansdale); this text is black with humor (“He’d read up on noir and called it Nora.”) and gorgeous with distemporal language (The drinks came and he hoped she wouldn’t say Bottoms Up. “Bottoms up” she said.”) Read it and smirk.

Started Early Took My Dog by Kate Atkinson read by Graeme Malcolm

Jackson slugs a bully and saves a small dog. Hence Jackson, ex military man, ex husband (twice), having been familiar with violence his whole life has now finally found a good use for it. Now on the other side of the law, but otherwise non-localizable: “when he stayed at a hotel, he knew who he was. A guest.”

Tracy is big, post-menopausal, plain, and so indistinct that qualifiers float over the surface of her identity, like flat swabs of paint on a blank canvas.

At school Tracy had always been wary of the domestic science crowd – methodical girls with neat handwriting and neither flaws nor eccentricities. For some reason they were usually good at netball as well, as if the gene that enabled them to jump for the hoop contained the information necessary for turning out a cheese-and-onion flan or creaming a Victoria sponge-sandwich mix.

After she pays $3000 for a small child being dragged around by a street-mother, Tracy buys the kid cotton clothes and uses thought to re-organize her life from the point of view of a small girl.

Two characters in an England out of time, make a decision that makes no sense, and thereby changes the sense of life and everything in it. Two characters that grip us by the throat, and leave us breathless, waiting for the real inside the fiction.

I Remember Nothing by Nora Ephron read by Nora Ephron

Although I didn’t see her face, I knew that the woman in the coloring chair was beautiful. It wasn’t just because she had long, lush, gorgeous hair, but because she was tearing out a page of WWD, where she had eyed another beautiful woman with long hair. And beautiful women look at beautiful women.

“Can I see?” I asked. And then she turned in the chair and I saw a Vogue model, circa 1976, sans huge hat and cigarette holder. But she was still beautiful, sitting there having her hair colored and pointing to the woman in the ad with the big sunglasses and the thick brown hair, saying: “that’s not Jackie Kennedy but it looks like Jackie Kennedy. I’ve always loved that look.”

And then she told me that not only was Jackie Kennedy beautiful but she was a nice person. She knew this because she sat across from Jackie Kennedy’s chair at Kenneth’s in the city, which is where Jackie had her hair done when Jackie had her hair done. The beautiful woman in the coloring chair had worked for Glamour and Vogue for 25 years, and if we were still in NYC and one of us had been Nora Ephron then one of us might have discovered that her husband was having an affair…. But we neither of us were Nora, and this was not NY, and Jackie was dead.

Nora Ephron is writing about just this generation of women, who lived and worked and counted in NYC, and who are now oldish, or dead. Nora Ephron is not dead. But she is forgetting things, and what she remembers is not obvious. She remembers going to an anti-Vietnam protest but not getting to it because she spent the weekend in the hotel room having sex, she remembers trying to find the New York Post building, and getting lost on the George Washington Bridge, and not deciding to get a divorce, and not going to the front during the 1973 war in Israel, and not knowing anything, and believing in print. She remembers consciousness-raising meetings in the 60s and 70s with women who took themselves much too seriously, and she remembers writing scripts that she thought were funny that weren’t funny enough.