With an eye on reviewing fiction and nonfiction that has regional resonance for Connecticut or Long Island – books written by local authors or books set in the area – Joan considers the timeliness and significance of recently published work: what these books have to say to a broad group of readers today and how they say it in a distinctive or unique manner, taking into account style and structure as well as subject matter.
The article noted the financial and psychological rewards for authors going straight to audio ‒ a greater number of readers immediately and a greater pay back in making multi-book deals, though for sure the reputed $15-$45 cost of buying an audiobook is certain to go up, given the likelihood of forced subscriptions. (A side note not pursued is the article's report of a diminution of sales of ebooks!)
The article also noted the kinds of books lending themselves to audio success: nonfiction, popular novels, science fiction and self-help guides. But …
What about those who love serious fiction? Well, yes, there are those short stories that get read by actors on public radio, but those are classics or standards, and the dramatic readings are broadcasts from literary events, not new publications. What about "book lovers" of serious new novels? What’s in audiobooks for them?
I can think of nothing more insulting to a reader ‒ or listener – or literary author! – of having a recorded voice determine how to respond to sustained complexity in a novel – to irony, paradox, ambiguity, pacing, tone. When interpretation is kidnapped by an actor who has decided how to present dialogue, monologue, point of view, taking away a reader's imaginative response and engagement, that is the end of one of the most intimate relationships in the civilized world. Audiobooks of serious fiction are an affront to the cognitive values already under threat from an ever-extending quick-fix electronic world – reflection, analysis, reconsideration.
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