Notes on an Execution
It tells a story. Hardcover files this book as fiction, and its readers there call it reflective, dark and emotional. Facts, not factors: neither plays any part in our call.
Either. Don't overthink it
It comes out level, but not because nothing is happening: Jim Meskimen and Mozhan Marnò’s reading is better received than the book (in the top 28% of our shelf of books, on 373 ratings of the narration), and the format is not fighting you either way (between the bottom 34% and the top 23% of our shelf of books for extra work in audio). Those two cancel out, leaving the audio case between the bottom 31% and the top 42% of our shelf of books for how far the recording outruns the page, the band where this figure settles nothing on its own. These are forces pulling against each other rather than a book that asks nothing of you. Pick whichever you will actually finish.
Length does not decide this
9h 42m to listen, at 1×7h 46m to listen, at 1.25×6h 28m to listen, at 1.5×5h 33m to listen, at 1.75×4h 51m to listen, at 2×about 10 hours to readabout 8 hours to readabout 6 hours to readabout 4½ hours to readabout 4 hours to read
The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 306 pages at 30 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 306 pages at 40 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 306 pages at 50 pages an hour, which is about 300 words a page, read at 250 a minute.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 306 pages at 65 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 306 pages at 80 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute.
Slot → commute-safe
The mark sits a hair past the line, and we have rounded the slot down: on a book where the call itself is a draw, we would rather under-ask for your attention than over-ask for it.
Harder work in audio than Slaughterhouse-Five.
Harder work in audio than 70% of the books we hold.
Harder work in audio than 70% of the fiction we hold.
Harder work in audio than 71% of the middling-length books we hold.
Reading load against listening load
Where that puts this one among the books we hold: in the middle 40% of our shelf of books on both counts (effort on the page and effort in your ears). The middle of the scale is not the middle of the shelf (most books sit below the average on both), so a book at 0.00 is already in the top 43% for effort on the page. Each of the three is measured against the whole shelf separately, so the bottom figure is not the top two subtracted. It is this book’s own distance from the middle.
What the audio disadvantage is made of. Two things and no others: how fast readers say this one moves, and how demanding the reviews we read found it. There is no third: the structural one has no data source, so it contributes nothing rather than being guessed at. Both directions are declared priors we have never fitted against a real verdict, which is the weakest-evidenced part of the whole model.
How the call was made
Where a bar carries ticks, the grey one is the middle of our shelf and a coloured one is a line we publish, cool where we start backing the page, warm where we start backing the recording. The evidence squares at the foot are a different thing: how far each of our four sources went, hatched where there was nothing to measure at all.
- The audio case
- 0.15It sits between the bottom 31% and the top 42% of our shelf of books for how far the recording outruns the page. Inside the band where neither side has made its case on this number alone, so the call is settled by what else is on the page.
- Narration payoff
- 0.49Jim Meskimen and Mozhan Marnò’s reading is better received than the book it came from: in the top 28% of our shelf of books, on 373 ratings of the narration. This is a difference, not a score: it sets the reading against its own book, so a much-loved book with a merely good reading sits low on this shelf even where nobody disliked either. Before we allowed for how many people rated it, the reading stood in the top 25% of our shelf of books. The gap between the two places is us declining to let a handful of ratings move a verdict. That is the second mark on the bar, and it is the one our line is applied to: a rule tested on the damped number would pass the same recording at 25 ratings and fail it at 5,000. Asked the other way (how the reading stands against what the book’s own readers made of it, which is a different crowd rating a different thing), it comes out 0.82. We report that one and never score it: two crowds that do not overlap are held together by nothing but the standardising, which is a cost the figure above does not pay.
- What is at stake
- −0.20It sits between the bottom 27% and the top 33% of our shelf of books for how well the print crowds think of a book: middling regard, so this barely moves the call either way. Blended across 162,551 Goodreads ratings and 250 on Hardcover, each scored inside its own population first, and never added together.
For the page
- The crowds’ regard did not reach the line where we protect a first read, this reason did not apply
For the recording
- The voice beats the book
- Audio is neither helping nor fighting this one
- 373 listeners behind it
Neither column won it: the two came out level, which is the answer above.
A bigger dot counted for more: the voice and the ear are sized by their share of the sum above, the other two by how much stands behind them. A hatched square is a reason that did not apply here, which is not the same as one that counted for little.
- Evidence
- 0.98How much of the picture we actually have, out of 1.00: four questions, each answered as far as the source could answer it, less anything taken off for reading fewer reviews than we aim to.The reading373 people have rated this reading: as good as it getsThe second sourceHardcover knows this book, with 250 readers there: as good as it getsThe matchHow sure we are that the recording we scored is this book: as good as it getsThe reviewsWe read 300 reviews to judge how demanding it is: as good as it gets
What each crowd complains about
In the reviews we read, how often readers brought it up and how often listeners did, each against what is usual for that same crowd across our whole shelf, which is the grey tick. The track stops at 4×. Listeners are only ever compared with listeners.
Listeners of this book bring up the pace about three times as often as listeners usually do, while readers of it bring it up about twice as often as readers usually do.
What the two crowds said
Showing the stars as each shop prints them. The two crowds are not measured from the same place: on our shelf Audible’s listeners average 0.35 of a star above Goodreads’ readers, so a recording that is ordinary for Audible can still out-star a book that is genuinely well liked for Goodreads. Switch the toggle to take that difference off.Showing each figure as its distance from its own crowd’s middle on our shelf, in standard deviations, so 0 is a typical book for that crowd. Listeners start 0.35 of a star up, partly because anyone who finishes a twenty-five-hour recording chose it deliberately, and this takes that off. It is not a claim that audio is better, the story figure is still Audible’s own (people rating a story they heard), and none of it moves the verdict above.
overallAudible
overall, pooled by the shop, so we hold no ruler for it
412 ratings · performance and story, as the shop pools them
the performanceAudible
the performance, against Audible’s own crowd
How often this goes badly1.1% of the people who rated the performance gave it one or two stars. About typical for the shelf. The middle of our shelf is 2.0%, and half of it falls between 1.0% and 3.1%.
4 of 374 listeners gave the performance one or two stars
The shape of the room
- United
- Warm, this one
- Split
- Lukewarm
A warm room: most listeners are happy with the performance, and a small group are not.
374 ratings
the story, as heardAudible
the story, as heard, against Audible’s own crowd
373 ratings
the book itselfGoodreads
the book itself, against Goodreads’ own crowd
162,551 ratings
Every reading we hold
One complete reading of this book, and it is the reading every audio figure above is measured on. If there is another, we have not found it. The shelf grows in reviewed batches, never because somebody searched for a book.
- Jim Meskimen, Mozhan Marnòour pick9h 42m7h 46m6h 28m5h 33m4h 51m · Two voices · Audible UK and US
Performance 4.65 · Story 4.42 · 373 rated the reading · 1.1% of the people who rated the performance gave it one or two stars
Hear it · Audible’s clip, its length read from them on load
The recording we mean
- Runtime
- 9h 42m at 1×
- Read by
- Jim Meskimen and Mozhan Marnò
- Kind
- Two voices
- ASIN
- B09CRBP4X3 · Audible UK
- Rated in
- Audible UK and US · 361 + 13 ratings of the performance
- Judged on
- 373 ratings of the narration
- Published
- Phoenix · 2022
Audible sorts a search by newest, so ours may not be the first one you are offered. The runtime is the check: if the one in front of you says 9h 42m, that is the reading these numbers describe. “Judged on” is the crowd behind every judgement we make about this reading: the smaller of the performance and story counts, which is why it is a little under the two shop counts added. We do not link out to a shop, and we take nothing if you buy there.