Sept
2008
AUDIO BOOK REVIEWS
AND AN UPDATE INTERVIEW WITH BRAD MELTZER
by Jonathan Lowe
After hearing Christopher Ciccone
read his autobiography, one cannot
help wondering why now? Could
it be that Christopher has once again
hit hard times, due to lack of work
and drug use? Or could it simply be
that his sister, arguably the most
famous woman on Earth (at least to
the 80s and 90s generation), has just
turned 50, and there has been a secret
pact that he couldn't write a book
like LIFE WITH MY SISTER MADONNA until
now? We are not told the reason for
the timing, except in a brief opening
statement the author assures us that
it was written to sort out his thoughts
about his sister, and served as a
catharsis in finally breaking free
into his own identity, because, as
he puts it, "I was born my mother's
son, but will die my sister's brother."
Christopher shared most of his life
with Madonna, from a Michigan childhood
to a turbulent and emotional struggle
in New York, then finally as Madonna's
art director and backup dancer on
the Blond Ambition and Girly
Show tours. In between it all,
he worked for Madonna as dresser,
decorator, and personal assistant,
and became friends with many of her
famous friends, including Kate Moss,
Gwyneth Paltrow, and Demi Moore. Never
able to break free from Madonna's
controlling influence into an independent
dancer or designer in his own right,
Christopher fell victim again and
again to mistreatment and verbal abuse,
as his sister underpaid him, doling
out just enough to keep him tied to
her, while she lavished extravagant
sums on houses and art. Christopher's
battle with drugs was soon to follow,
as this behind-the-curtain narrative
unfolds with flagrant detail, tarnishing
his sister's carefully constructed
mythology. A gay man with a deep masculine
voice, Christopher adopts an unemotional,
matter-of-fact tone in reading the
book, which was coauthored by Wendy
Leigh. Photos of their life together
appear in PDF on an enhanced CD, just
as they appear in the print book,
but one doesn't get as vital or real
a picture reading the print version
as in hearing Madonna's own brother
dish back as well as he's taken since
the narcissistic, homophobic, and
macho Guy Ritchie effectively ended
his relationship with the pop icon.
Now Madonna is ironically falling
out with Ritchie, yet striking deals
to do concerts in Dubai for $25 million.
Not without serious flaws himself,
the poorer Christopher Ciccone tells
a story about the cost of fame from
an angle seldom seen, or rather heard.
(Simon & Schuster Audio; 5 hours
abridged) |
As a genre, romance has tended to
fluctuate between the sappy and steamy,
taking stock characters on a predictable
roller coaster ride that ends with
either a wedding or some twist on
revenge. In recent years, romance
has strayed into mystery and suspense
in a crossover attempt to win a wider
audience. Working mothers or career
women whose hopes for advancement
included snagging the resident Adonis
are no longer typical of this new
wave of novels populated by serial
killer investigators, ghost busters,
and even vampires. The boring has
turned into the ridiculous. So it
was with pleasant surprise that, having
ejected the first disk of a new (and
vapid) Danielle Steel novel, I next
inserted TRAIN TO TRIESTE by first
time novelist Domnica Radulescu, a
literate romance that breathes spontaneous
life from its opening paragraphs.
In the memoir-clarity of first person,
the story of Mona Manoliu is told,
circa 1977 in Ceausescu's Romania,
as she falls in love with a young
man who is later seen in the uniform
of the secret police. Fleeing the
country for Chicago, Mona goes on
to live a quite different life with
another man, but can never forget
her one great love. Indeed, twenty
years later, when she finally returns
to Romania to learn the truth, the
moment is rendered with exquisite
detail, something that is simply absent
in most of today's less believable
manipulations. The reason I haven't
reviewed much romance in the past
is, (I now realize), not because I
am not romantic, but rather because
I could never get past the first CDs.
This audiobook kept me through all
nine disks, however, thanks to the
well drawn character of Mona, whose
hauntingly original voice is honest,
brave, witty, and most of all passionate
and alive. Thanks also to narrator
Yelena Shmulenson, whose ability to
empathically inhabit the character
is matched by her masterful delivery
and authentic accent. A must-hear.
(Highbridge Audio; 11 hours unabridged) |
Next, have you ever wondered why the
most seemingly sedate and innocuous
people can suddenly act recklessly
demonic behind the wheel? According
to Tom Vanderbilt in TRAFFIC—WHY
WE DRIVE THE WAY WE DO it's because
there's an anonymity inherent to the
closed passenger compartment similar
to a chat room on the internet. So
while John Q. Public might never cut
you off in conversation, he hesitates
not at all to cut you off in traffic.
Safe and anonymous behind tinted glass,
many drivers feel a sense of invincibility—especially
those whose physical smallness or
emotional insecurity is suddenly enhanced
by a huge or powerful vehicle. Vanderbilt
explores the many ramifications of
human nature in driving, as well as
our misperceptions in judging how
to avoid accidents. How traffic actually
works can be both surprising and scary,
too. Hundreds of decisions are made
every minute on the road, and the
chances for one mistake to snowball
only increases with speed, distraction,
fatigue, and a variety of X factors.
Where and when do most accidents happen?
On dry, sunny days on rural, two-lane
roads. Where a false sense of security
pervades. It was where Stephen King
was struck by a pickup truck, just
over a rise, walking by the side of
the road. As read by David Slavin,
this audiobook is best listened to
while stuck in traffic. It might just
save your life. (Random House Audio;
6 hours unabridged) |
Finally, an update interview with
Brad Meltzer, author of six previous
New York Times bestsellers, his seventh
and latest now being THE BOOK OF LIES,
narrated by Scott Brick. A graduate
of the University of Michigan and
Columbia Law School, Meltzer was once
an intern on Capitol Hill, and currently
lives in Maryland with his wife and
son. |
JONATHAN LOWE: Just finished listening
to your new novel "The Book of Lies." Until
I heard it, I was wondering how on earth
you'd link up the premise about finding
the first murder weapon used by Abel to
kill Cain with the real life murder of the
father of the creator of Superman. Congrats
on an enjoyable journey of following clues
bolstered by the father-son theme.
BRAD MELTZER: Thanks. My editor asked
the same question when I started.
LOWE: Am curious about your research.
Did the premise arise organically from your
boyhood love of comic books, and your curiosity
about their authors? And how did your investigations
proceed within your usual two-year time
frame to write a novel?
MELTZER: Every writer has a story they've
been waiting their whole life to tell. This
is mine. I know this because I first pitched
"The Book of Lies" over a decade ago. When
my first novel,
"The Tenth Justice", was published,
my original pitch for the follow up was
a story involving Cain. Exactly. My editor
at the time smartly told me: "You've just
established yourself as a bestselling author
of legal thrillers. Do you really want to
risk it all by suddenly switching to kooky
things like Cain?" It was a moment I'll
never forget. I caved right there. I was
twenty-seven years old and barely had paid
off my student loans. I caved in no time
at all. In fact, I set the record for caving.
But it took me until now to come back to
it.
LOWE: It really is still partly
a mystery—the murder, and the genesis
of Superman—isn't it?
MELTZER: Absolutely.
LOWE: There's a website to explore
about this?
MELTZER: It's all at BradMeltzer.com,
including a video ad for the book.
LOWE: I see that Dennis Kao was
producer and director of the audio version.
I've met and interviewed Dennis in the past,
regarding how audiobooks are made, and about
one of my favorite thrillers with sound
effects, "The Breathtaker" by Alice Blanchard.
He's worked his magic here on your book
as well, with the unobtrusive Mahler and
Elgar clips, and the PDF of illustrations
included on the final disk. Have you heard
the companion soundtrack to your audiobook?
MELTZER: Those are directly from the
soundtrack we did for Victor Records. It's
on iTunes and Amazon — and we actually
scored the key chapters of the book so you
can play certain chapters and hear exactly
the song that conveys the emotion of that
chapter.
LOWE: Scott's dramatic performance
alone is reason to listen, of course. Are
any of those character accents a result
of your throwing him a curve ball, like
he claims you sometimes do?
MELTZER: Scott is my hero. It's why
I actually asked him to come back and rerecord
my first two books. If my name is on it,
so is Scott's. He makes me sound handsome.
Plus, I'll get him with an accent he can't
do sooner or later.
LOWE: You grew up reading comics,
too, and graphic novels, like from Alan
Moore and Warren Ellis and Frank Miller.
Any more graphic novels of your own in the
works, like
"Identity Crisis"?
MELTZER:
"Last Will & Testament" should be out
as people read this. How's that for service?
LOWE: What can we expect from you
next time, in two years, or haven't you
considered that yet? And where you going
on book tour?
MELTZER: Working on the new one now.
And the book tour for "The Book of Lies"
kicks off September 2nd to 20 cities. See
them all at my website.
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