“… when you want to listen to a book like a favorite song? That comes down to the narrator.”
Audiobooks are a unique experience, and narrators are a major reason why. Understanding the author’s intent, through a performative lens, takes skill. Great ones bring characters and people to life, so we’d like to bring attention to some notable narrators:
It’s no wonder Marin Ireland is a stand-out—she was named a Golden Voice Actor by AudioFile Magazine. Our staff love her because she is clear, well-paced, and entertaining. Her transitions between characters aren’t drastic but distinct, and her style is consistent, so if you enjoy listening to Beartown, you’ll enjoy Remarkably Bright Creatures, and maybe even Sleeping Beauties (even if you’re not a Stephen King fan).
While staffer Becky doesn’t listen to a book more than once, she’s listened to The Raven Cycle series by Maggie Stiefvater three times. Why? Will Patton. Of course, the world Stiefvater creates in the series is magical, but when you want to listen to a book like a favorite song? That comes down to the narrator. Patton’s voice has a deep southern roughness, but it goes down smooth. When it comes to being an omnipotent third person, he is solid.
The emotion and dedication that Jim Dale brought to the Harry Potter series went above and beyond any audiobook performance that staffer Joel had previously encountered. Dale’s range and energy seemed on par with how Robin Williams presented his comedy.
Another standout is Patrick Tull, narrator of the Aubrey-Maturin historical adventure series by Patrick O’Brian. The beauty of Tull’s narration is that he absolutely gets the writing style of O’Brian and accentuates the books’ humor, wryness, and intensity.
Where audiobooks shine for the nonfiction reader is comedy. While written comedy is just as nuanced, the voice adds to the experience (and our notables already excel at performance).
Mike Birbiglia is one of staffer Natalie’s favorite comics. In 2020, he published The New One: Painfully True Stories from a Reluctant Dad. Is it funny to read about a grown man being jealous of a baby? Of course it is, but it’s a lot funnier to hear that man read the stories aloud. The pregnant pauses, moments of defeat, and the depth of his voice when talking about his daughter enrich the experience.
Bossypants by Tina Fey documents her childhood to the beginning of her comedy career. In reading her work aloud, the comedy factor increases—to the point of tears—and the listener can hear proper pronunciations of Greek words and names (Fey’s heritage).
Standup Maria Bamford’s memoir, Sure, I’ll Join Your Cult: A Memoir of Mental Illness and the Quest to Belong Anywhere, shouldn’t be funny. Bamford joins 12-step programs for addictions she doesn’t have and struggles with mental health issues. Still, in the saddest moments, her inflection allows for light to shine in.
It is safe to say that apartheid is not funny. However, Trevor Noah’s memoir Born a Crime: Stories from a South African Childhood is packed with laughs. In order to hide Noah’s biracial identity, his mother sometimes pretended to be his nanny. Despite the tragedy of the situation, the duality of their relationship outside and inside the house is comedy gold—especially when you can hear the reverence and annoyance in Noah’s voice.
Audiobooks allow for deeply unfunny content to cloak itself in levity. Making light of uncomfortable topics isn’t glib, it is resilience.