2024: The Best and Worst Audiobook Narrations I Heard
This year, there was a notable overlap between my best and worst reads and their narrations.
While I remain a fan of full-cast performances, I’ve typically shied away from Hollywood actors stepping into a space traditionally ruled by seasoned audiobook narrators. However, this year several well-known celebrities delivered standout performances, putting ego aside and finding the subtleness needed to truly inhabit a character.
With 72% of my reading this year incorporating an audio component, it’s surprising that more performances didn’t land on my “worst” list – especially considering how average my overall reading year felt.
This only underscores the transformative power of a skilled narrator to elevate even the most middling material into something magical.
Overall Best Narration
Nick Offerman, Ed Helms, Chris Cooper, Paul Mescal, Jenny Slate, Zachary Chastain, Dion Graham, Ellen Adair, Steven Jay Cohen, Jim Seybert, Dawn Harvey, Rebecca Lowman and Ben Shattuck in The History of Sound: Stories by Ben Shattuck
Shattuck's “The History of Sound: Stories” emerged as both my favorite book and audiobook of the year. This collection of interconnected short stories blended historical fiction, romance and Americana that was all the more engrossing thanks to a stellar voice cast of well-known actors, audiobook all-stars and even the author himself.
Each narration brimmed with emotion and warmth, offering a poignant exploration of the book’s themes: love, loss and human connection. It’s rare to find a short story collection where nearly every entry resonates, and this is the perfect example of how even average stories can be elevated by a great performance.
Runners-up: Dominic Hoffman in “James” (2024) and Steven Weber in “IT” (1986)
The Best of the Rest
Frank Muller in Apt Pupil by Stephen King
Muller’s narration throughout “Different Seasons” was an interesting balance of scenery chewing and nuance. I have no idea how he pulled it off. Like the stories themselves, each narration was uneven, but he absolutely nailed the deranged characters in “Apt Pupil.”
Nicole Lewis in Come & Get It by Kiley Reid
Reid’s character-driven exploration of college life and capitalism was a sharp, witty and engrossing listen. Nicole Lewis’ narration brought the diverse cast of characters to life, balancing humor and humanity with finesse.
Julia Whelan and JD Jackson in I Have Some Questions For You by Rebecca Makkai
This genre-bending literary mystery captivated me with its reflective tone and slow-burn plot. Julia Whelan’s narration was (per usual) top-notch, as she fully embodied the characters, while JD Jackson’s small yet impactful role added gravitas.
Armie Hammer in Call Me By Your Name by André Aciman
A sensual and lyrical exploration of desire and connection, this novel translated beautifully into audio. Hammer’s narration captured the aching intimacy between Elio and Oliver, and despite knowing the story from the film, the audiobook still offered a well of emotion that kept me captivated. However you feel about the actor, you can’t deny that his performance was undeniably skilled.
Michael Stuhlbarg in Find Me by André Aciman
Whoever decided to have actors from the “Call Me By Your Name” film adaptation narrate the novel and its sequel deserves a raise. While lacking the cohesiveness of its predecessor, Stuhlbarg’s narration gave the characters depth, particularly in their moments of vulnerability. The final reunion between Elio and Oliver was gut-wrenchingly beautiful thanks to his subtle, real performance.
Dominic Hoffman in James by Percival Everett
Everett’s reimagining of “The Adventures of Huckleberry Finn” gave James a voice and purpose beyond the original text, and Dominic Hoffman’s stellar narration added weight to the story’s exploration of race and survival. This audiobook not only honored its source material but elevated it.
Steven Weber in IT by Stephen King
“IT” remains one of King’s most unsettling works, and Steven Weber’s chilling narration, particularly his portrayal of Pennywise, elevated the story and kept me engaged through its 45-hour runtime.
Shaun Taylor-Corbett, Alma Cuervo, MacLeod Andrews, Curtis Michael Holland, Calvin Joyal, Phil Ava, Emmanuel Chumaceiro, Christian Young and Charley Flyte in Wandering Stars by Tommy Orange
Though uneven in its structure, this sequel/prequel shone brightest in its audiobook format. The full cast narration brought authenticity to Orange’s exploration of Native American identity and intergenerational trauma, with Shaun Taylor-Corbett and Alma Cuervo – reprising their roles from “There There” – standing out amongst solid performances.
The Worst Narrations
Joel Froomkin, Dustin Ballard, Hope Newhouse and Neo Cihi in Queer Ducks (and Other Animals): The Natural World of Animal Sexuality by Eliot Schrefer
An unfocused and uneven exploration of animal sexuality was made even worse by abrasive and exaggerated performances, further detracting from the book’s already scattered tone.
James Colby in Fight Club by Chuck Palahniuk
This nihilistic and dated critique of consumerism left me frustrated. James Colby’s manic narration mirrored the chaotic text but lacked any resemblance of nuance, making an already challenging listen even worse.
Suzanne Toren in The Overstory by Richard Powers
While lauded as a masterpiece, the novel was overly ambitious and pretentious, losing me in its sprawling narrative. Suzanne Toren’s narration was serviceable but couldn’t overcome the book’s disjointed structure and after 20+ hours, her voice became grating.
Tom Parker in The Adventures of Huckleberry Finn by Mark Twain
Though historically significant, Twain’s classic hasn’t aged well, particularly in its portrayal of Jim (see “James”). While Tom Parker regularly turns in delightfully unhinged performances that approach didn’t work as well here, and when paired with terrible production, this felt like a chore.
John Darnielle in his novel Devil House
While the story itself was thought-provoking, Darnielle’s flat narration dampened its impact. This meta-critique of true crime had great ideas but his performance lacked energy.
Will Patton in The Demon of Unrest by Erik Larson
Larson’s exploration of the events leading up to the Civil War needed more subtlety. Will Patton’s hamfisted narration played like an audition and detracted from the seriousness of the material.
