At first, he seems unsure. Hesitant, even. His voice is coming out metered, measured, and his reading feels more like recitation than performance. Then, something astounding happens: he hits dialogue, and everything ramps up. Voices, it seems, help Michael Kelly find his voice. For those used to listening to crime stories on audio, Kelly’s take on Joyland might be jarring. The narrators of Lawrence Block’s Matt Scudder series, for example – Alan Sklar, William Roberts, Mark Hammer – explore every word as a threat, pummeling headlong toward finales composed of shock and sadness (only Block himself, on Eight Million Ways to Die, seems to get to the deep sorrow of the character). On the other hand, the more stately readings of both Robert B. Parker’s Spenser series (Michael Prichard, who has taken on Tom Clancy’s techno-thrillers with the same endearing seriousness as John Irving’s The World According to Garp...
- 6/12/2013
- by Kevin Quigley
- FEARnet
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