The Last Battle
It tells a story. Hardcover files this book as fiction. A fact, not a factor: it plays no part in our call.
Listen to it
Both halves point the same way: only 4% of the reviews we read called it demanding, and Patrick Stewart’s reading is better received than the book it came from (in the top 26% of our shelf of books, on 292 ratings of the narration). About as clear as this gets.
Length does not decide this
4h 51m to listen, at 1×3h 53m to listen, at 1.25×3h 14m to listen, at 1.5×2h 46m to listen, at 1.75×2h 26m to listen, at 2×about 10 hours to readabout 7 hours to readabout 6 hours to readabout 4½ hours to readabout 3½ hours to read
The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 288 pages at 30 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute. Treat the reading estimate as a ceiling on this one: this one runs 1.0 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 288 pages at 40 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute. Treat the reading estimate as a ceiling on this one: this one runs 1.0 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 288 pages at 50 pages an hour, which is about 300 words a page, read at 250 a minute. Treat the reading estimate as a ceiling on this one: this one runs 1.0 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 288 pages at 65 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute. Treat the reading estimate as a ceiling on this one: this one runs 1.0 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.The runtime is Audible’s own, shown at the speed beside it. The reading time is our estimate: 288 pages at 80 pages an hour, the pace you told us. Ours is 50, about 300 words a page, read at 250 a minute. Treat the reading estimate as a ceiling on this one: this one runs 1.0 minutes of narration a page against a shelf median of 1.9, so its pages are lighter than the average we divide by (verse, dialogue, wide margins), and it will go quicker than we say.
Slot → commute-safe
About as demanding in audio as Slaughterhouse-Five.
About as much work in audio as most of the books we hold.
About as much work in audio as most of the fiction we hold.
About as much work in audio as most of the middling-length books we hold.
- Listed under "The Chronicles of Narnia" but the sequence has no continuous narrator (14%), so it is not treated as one audio commitment.
Reading load against listening load
Where that puts this one among the books we hold: in the bottom 17% of our shelf of books for effort on the page and in the bottom 23% of our shelf of books for 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
- 0.92It sits in the top 21% of our shelf of books for how far the recording outruns the page. Past the line where we start backing the recording.
- Narration payoff
- 0.53Patrick Stewart’s reading is better received than the book it came from: in the top 26% of our shelf of books, on 292 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 19% 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 1.15. 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
- −0.60It sits in the bottom 25% of our shelf of books for how well the print crowds think of a book: not a book the crowds are precious about, so there is less to protect and we can be relaxed about it. Blended across 315,412 Goodreads ratings and 632 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
- 292 listeners behind it
So the case for the recording won it.
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 reading292 people have rated this reading: enough to lean onThe second sourceHardcover knows this book, with 632 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
We would need 40 reviews from each crowd before setting the two side by side, and only 33 of the reviews we read said they listened to it. So we are not drawing this one.
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
365 ratings · performance and story, as the shop pools them
the performanceAudible
the performance, against Audible’s own crowd
How often this goes badly1.0% 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%.
3 of 293 listeners gave the performance one or two stars
The shape of the room
- United, this one
- Warm
- Split
- Lukewarm
A united room: 80% of the listeners gave the performance five stars. A room that agrees this far leaves little to gamble on.
293 ratings
the story, as heardAudible
the story, as heard, against Audible’s own crowd
292 ratings
the book itselfGoodreads
the book itself, against Goodreads’ own crowd
315,412 ratings
The series
Finished · The reading changes hands
7 books numbered on Goodreads’ list. The last one came out in 1956 and Goodreads lists nothing further. Five quiet years is where we start using that word.
The reading changes hands across the 7 volumes Audible names in our records: Kenneth Branagh reads book 1, Michael York book 2, Alex Jennings book 3, Lynn Redgrave book 4, and 3 more credits after that.
From Goodreads’ own series index, checked on 14 September 2026.
We judge this run a book at a time: every book of it, and who reads each
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.
- Patrick Stewartour pick4h 51m3h 53m3h 14m2h 46m2h 26m · One voice · Audible UK and US
- An Audie for this reading, 2005
Performance 4.71 · Story 4.51 · 292 rated the reading · 1.0% 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
2 other listings we set aside, listed with the reason for eacheach one is sold as this book and is not a complete reading of it
- Sir Michael Hordern2h 25m1h 56m1h 37m1h 23m1h 13m · 39 ratingsAbridged: it runs 50% of the full reading
- Full Cast, Maurice Denham, Timothy Spall, John Sessions, Paul Rhys, Victoria Shalet, Marco Williamson2h 23m1h 54m1h 35m1h 22m1h 12m · 18 ratingsNot a straight reading of the book
The recording we mean
- Runtime
- 4h 51m at 1×
- Read by
- Patrick Stewart
- Kind
- One voice
- ASIN
- B004EETL58 · Audible UK
- Rated in
- Audible UK and US · 253 + 40 ratings of the performance
- Judged on
- 292 ratings of the narration
- Published
- HarperCollinsChildren’sBooks · 2005
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 4h 51m, 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.