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In LIVING WITH A WILD GOD, her memoir about a troubled childhood studded with strange, mystical experiences, Barbara Ehrenreich writes that she often propped books on sinks so she could continue reading while she brushed her teeth or did the dishes. She seems the kind of consumer of literature who might naturally have progressed to audiobooks. But that’s not the case.
“I don’t listen, but I have to start doing it because the radio is too frustrating,” she says. She hasn’t even listened to--or reread--her other works. Five of her 20 provocative and socially conscious books have been recorded, including her 2001 bestseller, NICKEL AND DIMED: On (Not) Getting By in America. “I guess when I’ve written a book, I’m not that interested in reading or listening to it again.”
Still, she agreed to record her current volume, subtitled A Nonbeliever’s Search for the Truth about Everything. “The pressure was on me because this new book is in the first person and is a kind of memoir. I thought: How bad can it be? Little did I know!”
Growing up in Northern Ireland during “The Troubles” provided Adrian McKinty a natural training ground for a career as a crime noir novelist. McKinty is acknowledged not only as one of the leading voices of Irish crime fiction but also as one of the top voices in hard-boiled crime fiction in the world today. After reading McKinty’s 2003 novel DEAD I WELL MAY BE, Pulitzer Prize winner Frank McCourt called McKinty “a cross between Mickey Spillane and Damon Runyon.” Another author, Peter Blauner, compared McKinty’s writing to Frank McCourt’s “if he had gone into the leg-breaking business.”
“You have to not love the words.” What a surprising thing for author Walter Dean Myers to say!
Gabrielle Zevin’s newest adult title is about an opinionated independent bookseller. THE STORIED LIFE OF A.J. FIKRY has won acclaim from reviewers, indie bookstore owners, and anyone who loves stories about stories.
Zevin’s many fans include Scott Brick, the narrator of the audio production. “I was stunned by the experience of narrating the book,” he says. “It drew me in from the first page. It’s the kind of book that I might ordinarily find myself finishing after only three days in the studio, yet I found myself stretching it to four, then five, simply because I hated the idea of it being over. I wept while recording it--more than once.”
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