Category: Editor’s pick

Big Stone Gap by Adriana Trigiani read by Adriana Trigiani

Daughter of an Italian beauty who somehow wandered into the wrong mountains, Ave Maria is still considered a ‘forner’, despite spending 35 years in Big Stone Gap, driving the volunteer Rescue Squad truck, and directing the annual town play. Charming, stubborn, hot tempered Ave loves theatre in all it’s forms. Especially the drama that can be overheard and observed from above, from her perch in the pharmacy, where she slowly grows into role of the town spinster.

Ave has real friends, wonderful friends. Iva Lou, who drives the bookmobile, gives her the best advise about men, clothes, makeup, and sex. Frieda, her down to earth perpetually retiring 55 year old employee, gives her the local gossip. Theodore, a pretty boy, director of the high school band and fellow forner, gives her verbal comfort, companionship and culture. But Ave has learned most of what she knows from books, specifically, the Chinese Art of Face Reading which helps her decode the illegible faces of the miners and families of miners that populate the Appalachians.

Ave Maria’s persona is so operatic,  so heavy with the pathos of each and every mood, so out of proportion to the somber sensibilities of the mountain folk, that it is difficult to imagine her as inside the skin of a couple.  Indeed, even in love, and then in marriage, and then in motherhood, Ave Maria sticks out.

Rise and Shine by Anna Quindlen read by Carol Monda

This is a charming very digestable story about one sister told by another. The sister in the spotlight is a freckled lovable morning news show host, with a perpetual trousseau of people who dress her, praise her, and advertise her friendship. A black limo brings her from Central Park West to the television studio and back. The other sister rides the subway everywhere, works at a battered women’s shelter, and dates a cop. Her’s is a pedestrian perspective.

The poor sister looks at the rich sister succeed, and then, one day, fail. Accidentally on purpose, pretty, married, red-haired Megan Fitzmaurice says “fucking asshole” on morning TV, live, just before going to a commercial and just after interviewing a married California millionaire and his pregnant surrogate girlfriend.

It is not surprising that there is a release of glee and ressentiment from the usual fans and friends of the successful. What is surprising is the resentment the successful feel toward the incompetent, the ineffectual, the unproductive. Drunk but articulate, Megan tells her sister:

You’re the one who gets to have the illusions. I’m the one who has to deal with reality. That’s our deal. Someone has to be the bitch so someone else gets to be the nice one. Someone has to be the one who pushes so someone else gets to be the one who takes it easy. Someone has to be the driven one so someone else can take their time, and figure things out, and follow their bliss. ..Someone has to be in charge so someone else can relax. Someone has to be willing to do everything so someone else can do nothing.

This could be the New Yorker’s mating call. (Although it may have originated in New Jersey: “Trenton makes, the world takes”)

Interesting, eh? The huge burden of those charged with making things, and making things happen. Even when it seems as if they are only reading the news out loud.

Southern Living by Ad Hudler read by Cynthia Darlow

“Dear Chatter: To answer your question, when a Southerner looks at you with a blank smile and doesn’t answer you right away, it’s because he doesn’t trust you and he’s lookin’ you over and seein’ how much damage you can do as a human bein’…Have a nice day!”

Chatter is a kind of oral help desk published daily in Selby’s town newspaper: questions and complaints called in by local folks about Yankees and by Yankees about local folks.

Margaret Pinaldi, even tempered daughter of a militant feminist gynecologist from Buffalo, NY, transcribes the native messages with the sensitivity of an anthropologist and a degree in women’s studies. The combination of skirtiness and guile and slow, drawn out vowels describes a particular kind of Southern power with a female signature. When a Southern lady says: “Well, bless her heart!,” she means:

“she’s a bitch and I don’t like her and I’m fixing to say something awful about her. It’s like this: ‘Well, bless her heart! She’s got the fattest ass on the planet and her taste is all in her mouth but she does the best she can.’

Mothers, daughters, wives organize, decorate and manage Southern life from behind affluent decorating magazines and glasses of sweet tea.

A Yankee would call someone a fat slob. A Selbyite would say: “Now there’s a lady who likes her cheese straws and biscuits”.

Southern men can either accommodate them or be discontinued, like the dead appliances set on porches in South Selby “as if they’d been granted some (final) years in the sun after putting in all those years of work in the basement.”

The day’s Chatter is the popular subjective log of what people think in a class-conscious, gospelly mid-Georgia town. Meanwhile, the daily affairs of three women — a smart reporter, a poor, pretty, slightly scarred Kroger’s Supermarket employee, and a desperate, over-reaching, ‘old Selby’ wife — track what people say and how they behave. Cynthia Darlow piles on the twang and pulls out the drawl and turns simple sentences into terms of art. From red neck firemen, to poor white Southern good girls, to smart-ass Yankee reporters, to sensible daughters of militant feminist gynecologists, Darlow does Selby like Julia Child does sauces.

The roundabout way that most Selbyites communicate feelings and facts is not merely a matter of dialect or drawl. It is an altogether different way of being-with others. Consider, for example, the blunt, brutal directness of Margaret Pinaldi’s mother telling her daughter about her CATSCAN results:

Let me show you something.. She tapped the glass with the ball point pen… This is my left ovary… and this, this right here this white mass that looks like a supernova… this is a six cm necrotic mass with satellite lesions and I am totally, irrevocably fucked.

Finally, this is a manual for managers of feelings, a step by step guide on how to treat the truth differently, how to speak the truth, Georgia time.

Nevil Shute No Highway read by Robin Bailey

Therefore, go forth, companion: when you find
No highway more, no track, all being blind
The way to go shall glimmer in the mind.
Though you have conquered Earth and charted Sea
And planned the courses of all Stars that be, Adventure on,
more wonders are in Thee.
Adventure on, for from the littlest clue
Has come whatever worth man ever knew;
The next to lighten all men may be you….

— John Masefield

Shute must be removed from the dusty category of oddish optimistic English writers and reclassified among the chroniclers of all things mechanical, experimental, technical and the men who invent them, perfect them, and test them. Again and again Nevil Shute describes ugly, unpopular, classless, technical men who nonetheless make wonderful things that work. In a word: engineers. Developers. Hackers. Nerds. Shutists, all. A century of nerds, bricoleurs and tinkerers and hobbyists invented buggy applications, tracked each other’s patents, and played with each other’s toys, long before we came along.

Honey is exemplary. A scientist who devises noisy contraptions tearing themselves to bits in order to study stress. A theorist who hasn’t heard of hot water boilers or mops.
Such an insignificant little man is Honey that it is almost inconceivable that he should be right about big important matters – like when planes are likely to crash. It is likewise inconceivable that such a seriously ugly man in a bad suit can make himself loved by a beautiful actress and a beautiful stewardess in the same book. But he does.

India Knight’s My Life on a Plate read by Jill Tanner

More than a little over the top, Clara Hutt is dropping her 2 boys off this morning wearing her pajama bottoms (again) and wondering (again) why all the other mothers can arrive at school with perfectly starched blouses and expertly applied makiage. Not now, Darling, I’m Paaaarking,” and again, “I AM PAAARKING,” and again “Stop it, Charlie, don’t make me want to break your legs.”

There are so many things wrong with this picture that the fact that Clara doesn’t speak to her children like the mummies in books is, well, funny. Indeed, Charlie is six and already has a “vast panoply of hideous, faintly disturbing, terms of abuse.” “You tiresome retard” he says to his brother. Or to some hapless toddler on a play date: “God! You exasperating creature! What is it? Talk for God’s sake!! God. God. Bloody God!” She is, of course, to blame she thinks, while she watches Naomi The Perfect Mother and Crossing Guard doing her pelvic floor exercises. Hup two three four and hoooooolddd.

I think Clara is darling. In perfectly bad faith for the nought generation, Clara has all the elements of a mad Greek family member. But she is English, and thanks to Jill Tanner’s drawn out vowels and enthusiastic syntax, we are happy to relocate our tragic flaws.

Clara’s mother is, on the other hand, global.

Long Time No See:: Re-hearing Susan Isaacs read by Cristine Mcmurdo-Wallis

Who in God’s name could murder a woman who puts doilies on the bottom of guest-room wastepaper baskets? In this decade of the Mother, of Mommihood, of stretchy, skin tight maternity dresses, of preternaturally calm Nannies, Long Time No See is perhaps the precursor of a series of mysteries dedicated to killable mothers.

Charlie Wilson’s War by George Crile read by Christopher Lane

Imagine overhearing the comments of secretaries, girlfriends, GS-11s, GS-18s, CIA heads of station, assistants to CIA heads of station, busty, born-again Texan society matrons, outrageously charming right-wing politicians with more friends than God, superstitious immigrants and sons of immigrants, Muj(ahadeen) terrorists, Afghani torturers, Pakistani tyrants, Egyptian defense ministers turned mule and donkey merchants, so that you can actually see the pieces of history being pushed into place, so that a cult of personalities and a war become cause and effect. Almost. Because things are not so simple….

It is the genius of Crile, ace reporter, that manages these unmanageable personalities and tracks one mad Texan after another, one fanatic after another across the Washington political stage, quoting all the way.

“Now [Avracatos] was forced to recognize that without Charlie he would still be roaming the halls of the CIA without purpose….The man who tried to pretend nothing could hurt him discovered he actually loved Charlie Wilson.”

He risked an awful lot for us. He was unique. He ran with the CIA instead of hitting us from the outside. How many fucking Congressman in the last 40 years have gone to bat publically to get the CIA more money? …Even in the heyday of Eisenhower and John Foster Dulles when the cold war was one big fucking goat fuck, noone was publically calling for more money for the CIA to use in Guatamela or Cuba or anywhere.

This is not just a text read out loud. This is not a written momento of what was written about guns, mules, Afghanis. It is a tale of what was said, who said it to whom and how, with what kind of accent, and what they were wearing when they said it and who was looking at them when they said it and who wanted to fuck them because they said it …. and how they were fucked. Short, hard, telegrammic statements that moved men and things and boundaries. What Sartre would have called: the gossip, the rumours, the news. Told, and told again because it was originally told, this story which when read is re-heard, again. But differently.

Frank Muller reads James Hall:: Red Sky at Night

It is wrong to suppose that language is about communication. James Hall does not communicate. He sniffs a piece of the invisible, picks it up with his mouth and lays it on our doorstep. What we call language is sometimes a body, sometimes a carcass, sometimes a feather, sometimes a bone.

Reading is not communication. It is something else.

Boom boom boom.

Martha Grimes read by Tim Curry: The Old Silent

Short cuts to well told endings of British crime novels don’t usually work. They leave out the localized, linguistic pulp of English thought. And it is thought not plot that makes a novel so very relentlessly English.

Tim Curry’s reading resonates with localized, idiomatic, parochial, inherited sense, regionality, territoriality.

Listen up. Tim Curry turns this abridgement into an exception.