Tag Archives: Neil Gaiman

“The Simpsons” Meets YA Lit

The Simpsons, Season 23: Episode 6: “The Book Job”
(Watch it temporarily on Hulu here)

In this spoof of the Ocean’s Eleven franchise, Homer, Bart, and a gang of Springfieldians plot to “gang-write” the next tween fantasy publishing sensation  so that they can strike it rich.  Featuring guest voices of Neil Gaiman and Andy Garcia, this episode layers laugh-out-loud YA lit references on top of the familiar heist setup from Hollywood.  In an all-too-real subplot, Lisa Simpson endeavors to write her own novel, but can’t get past the procrastination temptations of online word games and CD re-organization (NaNoWriMo much?)  This episode should be required viewing for anyone involved in YA lit who likes to laugh.  Two thumbs up!

Write your favorite moments in the combox below.

Homer: (After finishing writing the book) I just hope we put in enough steampunk…whatever that is.


How an Audiobook Speaks Up for Itself

Add to FacebookAdd to DiggAdd to Del.icio.usAdd to StumbleuponAdd to RedditAdd to BlinklistAdd to TwitterAdd to TechnoratiAdd to Yahoo BuzzAdd to Newsvine

Audiobook Week, graphic from http://www.devourerofbooks.com/As the Stacked book review blog has informed me, we’re in the midst of Audiobook Week.  Personally, I am a traditionalist when I read full-length works.  Although I [clearly] have become interested in reading blogs, articles, and forums online, I still prefer the paper-and-ink experience for novels, textbooks, etc.

I try to keep an open mind, though.  The first audiobook I “read” was The Lord of the Rings: the Fellowship of the Ring, starring the delightful voice of Rob Inglis.  Shortly thereafter, I received a gift of Good Omens on CD from a friend.  I’ve been “working” on this one for months.  I really enjoy the storyline and the narrator’s approach, too.

However, I still can’t seem to find harmony with the format itself.  I only listen to audiobooks in the car, on long trips.  [After all, if I have free time at home, I’d rather read a book in my hands.]  In the car, I tend to fumble with the multiple CDs, get mentally distracted, and often forget to play the audiobook at all on smaller trips.

I do, of course, believe that it is important for public libraries to stock audiobooks, as much as their budget will allow.  I know many people who prefer this format for many reasons: multitasking (something I am clearly unable to do – see above), listening simultaneously with a friend, and reading impairments such as dyslexia.  Additionally, my public library is fortunate enough to have a small collection of Playaways, pre-loaded MP3 devices with the most popular titles, in addition to the lengthy shelves of audiobooks on CD and cassette.

Thanks to Google Reader, I found an article on Stacked from 2009 that gave me a better understanding of how the strength of an audiobook operates on a different set of criteria than does a paper book.   According to Stacked:

Although listeners can have a preference for one of these, they can all be done well or all be done poorly. But what makes a good audio book and what makes a bad one? If you’re listening to one and aren’t sure, consider these:

  • Are the words pronounced correctly? Is the narrator using an authentic accent? One of the presenters mentioned a book set in Wisconsin where the narrator had a mid-Atlantic accent and it really killed the book for her as a Wisconsinite. The Dairy Queen, on the other hand, has an authentic Wisconsin accent.
  • Is the book complete with a clear, crisp sound? Is the volume consistent?
  • Do you hear juicy mouth sounds? Is the narrator’s voice hoarse?
  • Has the producer done a good job if material was dubbed not making it obvious? Is the text being repeated or omitted or cut too short? Are chapter breaks awkward or poorly timed?
  • Are names of the title, author, and narrator correct? One of the presenters said that there was one book where the reader mispronounced the name Nguyen and a student with that name was turned off entirely (for those of you unsure, that’s “win,” and the reader said “nah-guy-en”)
  • Does the reader mostly match the age and experience — at least in sound — to the main characters?
  • The readers connect to the text and are generally excited by the reading and discovery in the beauty of the story and the language.
  • Is music used effectively? Walden — the one by Thoreau — apparently has fantastic music interludes and was lauded for that reason.

Once I finish listening to Good Omens, I’ll be looking out for some recommended audiobooks at Stacked and Devourer of Books, two blogs that are providing a marathon of audiobook reviews and 101-information this week.  Be on the lookout for your next listen!

Add to FacebookAdd to DiggAdd to Del.icio.usAdd to StumbleuponAdd to RedditAdd to BlinklistAdd to TwitterAdd to TechnoratiAdd to Yahoo BuzzAdd to Newsvine