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In this excellent recording of Foer's second novel, Woodman artfully captures the voice of nine-year-old Oskar Schell, the precocious amateur physicist who is attempting to uncover clues about his father's death on September 11. Oskar—a self-proclaimed pacifist, tambourine player and Steven Hawking fanatic—is the perfect mixture of smart-aleck maturity and youthful innocence. Articulating the big words slowly and thoroughly with only a hint of childishness, Woodman endearingly conveys the voice of the youngster who is trying desperately to sound just like an adult. The parallel story lines, beautifully narrated by Ferrone and Caruso, add variety on the imaginative and captivating plot, nevertheless they don't translate quite as seamlessly into audio format. Ferrone's wistful growl is ideal to the voice of the man who is actually able to don't speak, consider the listener actually gets to listen for the language how the character is only able to convey by writing on a notepad, his frustrating silence is not as profound. Caruso's brilliant performance as an adoring grandmother can also be noteworthy, though the meandering stream-of-consciousness kind of her and Ferrone's sections are occasionally hard to follow along with on audio. Although it really is Oskar's poignant, laugh-out-loud narration which make this audio production indispensable.
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Adult/High School-Oskar Schell isn't your average nine-year-old. A budding inventor, he spends his time imagining wonderful creations. He also collects random photographs for his scrapbook and sends letters to scientists. When his father dies within the World Trade Center collapse, Oskar shifts his boundless energy with a quest for answers. He finds an integral hidden in the father's things that doesn't fit any lock in their Ny City apartment; its container is labeled "Black." Using flawless kid logic, Oskar sets out to communicate with everyone in New York City using the surname of Black. A retired journalist who keeps a card catalog with entries for all he's ever met is merely one with the colorful characters the boy meets. As in It Is All Totally Illuminated (Houghton, 2002), Foer needs a dark subject and works in offbeat humor with puns and wordplay. But Extremely Loud pushes further with the inclusion of photographs, illustrations, and mild experiments in typography reminiscent of Kurt Vonnegut's Breakfast of Champions (Dell, 1973). The humor works as being a deceptive, glitzy cover to get a fairly serious tale about loss and recovery. For balance, Foer includes the subplot of Oskar's grandfather, who survived the The second world war bombing of Dresden. Even though this story is not quite as evocative as Oskar's, it lets you do carry forward and fasten firmly towards the rest from the novel. The two stories finally intersect inside a powerful conclusion that can make even one of the most jaded hearts fall.-Matthew L. Moffett, Northern Virginia Community College, Annandale
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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