Andy Minter (1934-2017)
16 libri letti per LibriVox
- Anna of the Five Towns EnglishAnna comes into a fortune on her twenty-first birthday and her miser father still won't let her spend a shilling of it, and Bennett makes you feel that quiet suffocation on every page. A small, sad, careful book about duty and money in the Potteries; slow, but it earns its heartbreak.
- King Lear EnglishYou get a brutal, strange study of pride and love, with Lear raging on the heath while his Fool keeps puncturing the grandeur. It’s bleak and sometimes deliberately difficult, but the language keeps opening up new depths each time you return to it.
- Oedipus at Colonus EnglishSophocles wrote this near ninety, and it shows in the best way: a blind, exhausted Oedipus finally finding a place that will take him, with Antigone at his elbow. Slower and stranger than Oedipus Rex, but the ending has a quiet awe that stays with you.
- Oedipus Rex EnglishYou watch Oedipus investigate the plague-stricken Thebes with fierce intelligence and a stubborn faith in truth, even as every answer makes his position more precarious. The play is spare, formal, and emotionally severe, but its pressure builds with remarkable clarity, leaving you thinking about knowledge, responsibility, and what you can bear to learn.
- Richard III EnglishRichard talks straight to you from the first speech, so you end up half rooting for a murderer and enjoying it, especially when he woos Anne over her father-in-law's coffin. If you like villains who make you complicit, this moves fast and never apologizes.
- The Cherry Orchard EnglishYou spend time with the tender, maddening Ranevskaya and the newly wealthy Lopakhin, as everyone talks around the fate of the estate and avoids the decisions that might save it. It’s quietly funny and deeply sad, with the strange feeling of hearing laughter in a house already beginning to empty.
- The Decameron EnglishTen young Florentines wait out the plague by telling each other stories, and most of them are funnier and filthier than you'd expect from the 1300s, full of scheming friars and wives outwitting dull husbands. Dip in and out; nobody reads all hundred straight through.
- The Duchess of Malfi EnglishYou get a dark, ferociously theatrical tragedy where the Duchess’s private marriage collides with her brothers’ vicious control, and Bosola watches it all with a bitter, uneasy intelligence. The plot turns brutal, but Webster’s language and the play’s strange flashes of tenderness keep it from becoming mere gloom.
- The History of Henry Esmond EnglishYou settle into Henry Esmond’s mock memoir as he moves through Restoration England, where Catholic loyalty, ambition, and appetite tangle around the courts of Charles II and James II. It’s long and deliberately old-fashioned, but his vanity and Thackeray’s sharp social comedy reward patience.
- The Old Wives’ Tale EnglishYou settle into the long lives of sisters Constance and Sophia, moving between the drab Five Towns and vivid Paris as marriage, work, age, and regret reshape them. It takes its time, but its patient attention to ordinary choices makes their disappointments and stubborn hopes feel remarkably close.
- The Princess and the Goblin EnglishA fairy tale that trusts children with real mystery: Irene follows her great-great-grandmother's invisible thread through the dark, and Curdie taunts goblins by stomping their soft feet. Gentle and strange in equal measure, best read slowly, ideally aloud, without demanding everything explain itself.
- The Prisoner of Zenda EnglishYou get a brisk, old-fashioned adventure where Rudolf Rassendyll impersonates the absent King of Ruritania, while the real king is held in Zenda Castle. The swordplay and disguises are fun, but the real pull is Rassendyll’s uneasy choice between duty and the woman he cannot openly have.
- Troilus and Cressida EnglishYou get Shakespeare at his most sour and slippery here: Troilus and Cressida’s love story keeps colliding with Pandarus’s bawdy meddling, while Ulysses and Hector make the Trojan War feel tawdry rather than heroic. It’s strange, funny, and deliberately hard to settle into, but richly rewarding.
- Twelfth Night EnglishYou get Viola’s clever, tender balancing act, Malvolio’s wonderfully sour self-importance, and a comedy that keeps slipping between farce and real loneliness. The mistaken identities can feel deliberately tangled, but the language is playful enough to reward reading aloud, especially when the characters are trying hardest to hide what they want.
- Ulysses EnglishYou’re glad you read it for the strange intimacy of spending a day inside Leopold Bloom’s mind, where errands, advertisements, hunger, and memory keep turning unexpectedly funny and tender. It’s demanding and occasionally maddening, but the jokes, wordplay, and Molly Bloom’s closing monologue reward patience.
- Uncle Vanya EnglishYou’ll recognize the ache in Vanya, who has spent his life serving someone else’s work, and in Sonya, quietly carrying on while Astrov dreams of forests and Elena drifts through the room. It’s funny in that painfully human Chekhov way, and its sadness sneaks up on you.