😀 😀 😀 🙂
A year before the story proper begins, Jan May is waiting for his girlfriend Leonie to arrive for dinner. He has decided this will be the evening he will propose and is confident of her answer. But his plans are destroyed when she phones him to say they will not be able to see each other again for an indefinite period, perhaps forever. “They will tell you that I’m dead – but I’m not, OK?” And at that moment the doorbell rings – and the police inform Jan that Leonie died in a car accident earlier that day. Despite all his protests, Jan has never seen or heard from Leonie since and is unable to convince anyone that she’s alive.
Criminal psychologist and police negotiator Ira Samin has never forgiven herself for failing to prevent her daughter Sarah’s suicide, and now Ira is planning to end her own life. But she has to put it on hold when her old police colleague and ex-lover Gertz persuades her to attend a developing situation at the local radio station. Jan May has taken several people hostage and is threatening to kill them unless Leonie is found. He’s on-air and has told the audience that he will phone a member of the public at random each hour – if they answer with the correct slogan, a hostage will be released, but if they don’t, then one will be killed. Ira will have to negotiate with him on-air and he’s only prepared to talk to her if she’s willing to tell him about her daughter’s death… and the situation becomes even more tense when Ira discovers that one of the hostages is her other daughter, Kitty…
I loved the half-narrated, half-dramatised format of Fitzek’s previous audiobook, The Child, though I was less enamoured with the actual story, so I was keen to listen to this one. And my reaction is pretty similar. The idea, of having a cast of top actors to perform the dialogue while still retaining the unabridged nature of the book by having a narrator for the in-between bits, is great – a real advance in thriller-type audiobooks, I think. As in the last one, Robert Glenister is the narrator and he does an excellent job. Jan May is played by the wonderful Adrian Lester, possibly best known for his role in Hustle, but a very fine stage actor too, and he gives a good performance here. I wasn’t so enamoured by Natascha McElhone as Ira, partly because her rather clipped and “actor-y” accent grated on me, but also her role didn’t give her the opportunity to show us any emotions other than misery and despair, which can become a little tedious after the first six hours or so. Rafe Spall, Peter Firth and Brendan Coyle each perform well as the three main supporting characters. The use of sound effects during the dramatised parts and the snips of weirdly discordant music to divide the chapters add a lot to the overall effect, making it feel more like a drama serial than a novel.
But – you knew there was a but coming, didn’t you? – the story is far-fetched and relies too much on coincidence. I found it impossible after a while to keep my incredulity in check. I wondered if, in this particular case, the audio format maybe didn’t work as well as reading would have – I felt it might have been a fast-paced page-turner on paper, possibly leaving the reader no time to think about the unlikeliness of some of the events or to work out the various twists.
But when listening to audiobooks, the speed is pre-determined at a rate much slower (for me anyway) than reading, plus I don’t tend to listen in chunks as long as I would read for. I found that extra time stopped me from getting swept up in the action, and also allowed me to work out what the big twist was going to be by the time I was about halfway through the book, removing a lot of the tension from the second half. While The Child grabbed me and made me listen for longer chunks, doing that ‘just one more chapter’ thing, this one didn’t have the same effect. However, much of that is a subjective criticism – someone who normally listens in longer blocks or can get as involved in the spoken word as the written might well find the action carries them along.
So overall, loved the format, enjoyed most of the performances, and really hope that Audible do more books in this way in the future. But in the end the story is the most important thing, and unfortunately it didn’t grab me quite as much as I’d hoped.
NB This audiobook was provided for review by Audible UK via Midas PR.