Good audiobook narrators are trained actors who have developed deep skills in voice and breath management. In many cases, they, along with professional directors, bring interpretation to texts with minimal personal contact with their authors as people. This year, the Odyssey Award, an American Library Association’s honor for best audiobook production for the youth audience, feted titles in which that general rule of thumb happened to not be the case.
Among the three Honor audiobooks, Jason Reynolds’ Ghost (Simon & Schuster), we heard from both author and narrator Guy Lockard, reached the ear from the page via the talents of Reynolds’ friend of 20 years. As Lockard told it from the celebration podium, these two “sat on the same couch, eating tunafish sandwiches” and listening to community members holding forth around them. Lockard knows Reynolds’ characters as thoroughly as Reynolds. The result is an audiobook experience that is thoroughly true to the feelings of the author’s word choices, phrasings, and interpretation of experience.
The Odyssey Award this year went to a production that wasn’t quite as uniquely personal. However, Anna and the Swallow Man (Listening Library) made friends of former strangers author Gavriel Savit and actor Allan Corduner, two generations of men whose own ancestors lived some of the experiences on which this story hinges. This shared community memory of the Holocaust through a child’s interpretive capacity informs both writer and narrator at an innate level where no explanation is needed from one to other for a full listening experience to come to being.
There are two other Honor titles in this year’s Odyssey Award season, each of which contributes an unusual performance experience based on the parameters of the author’s storytelling. Dream On, Amber, by Emma Shevah and performed by Laura Kirman (Recorded Books) involves the need for the narrator to speak as family members whose linguistic heritages include Italian, Japanese, and 21st century American English Tween. Nimona, a graphic novel by Noelle Stevenson, was produced by a full cast—and appropriate sound effects (Harper Audio) to move an original format that relies on visual content as well as verbal from page to ear.
All in all, this year’s Odyssey seems to be a celebration of relationships as much as production skill sets. And, as ever, every title makes grand reading by ear.