Audiobook Sample
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- Title: Evening and the Morning
- Author: Ken Follett
- Narrator: John Lee
- Length: 24:19:45
- Version: Abridged
- Release Date: 15/09/2020
- Publisher: Penguin Audio
- Genre: Fiction & Literature, Historical Fiction, Sagas
- ISBN13: 9.78E+12
As I settled into my favorite armchair with a cup of oolong tea, the familiar timbre of John Lee’s voice transported me to 10th century England with an immediacy that only audiobooks can achieve. Ken Follett’s ‘The Evening and the Morning’ – the prequel to his beloved ‘Pillars of the Earth’ – unfolds through Lee’s narration with such textured authenticity that I found myself pausing the recording frequently to savor particularly vivid passages, much like I did during my research year at Oxford’s Bodleian Library when handling medieval manuscripts.
Through a cultural lens, what fascines me most about this audiobook is how Follett and Lee collaboratively reconstruct the sensory world of the Dark Ages. The creak of wooden boats, the clang of blacksmiths’ hammers, and the whispered conspiracies in shadowed corridors all gain visceral presence through Lee’s masterful delivery. This reminded me of my graduate seminar at Berkeley where we examined how oral storytelling traditions shaped medieval narratives – an academic interest that makes me particularly appreciative of how this audiobook format bridges ancient and modern storytelling modes.
The novel’s central trio – Edgar the boatbuilder, Ragna the Norman noblewoman, and Brother Aldred – emerge as distinct auditory portraits under Lee’s care. His ability to shift between the gruff cadence of Saxon peasants and the refined French-accented English of Norman nobility demonstrates remarkable vocal dexterity. I found myself making mental comparisons to the multilingual manuscripts I’ve studied, where Latin, Old English, and Norman French often shared the same parchment.
Follett’s signature strengths shine through the audio format: his meticulous historical research (evident in every correctly pronounced Old English term), his knack for political intrigue (enhanced by Lee’s conspiratorial whispers), and his compassionate portrayal of ordinary people caught in historical currents. The audio medium particularly amplifies the novel’s exploration of how language itself became a battleground during this transitional period in English history.
From an academic perspective, the audiobook’s 30+ hour duration allows for deep immersion in Follett’s world-building. However, I occasionally found myself wishing for the ability to easily flip back to earlier passages as I would with a printed text – particularly during the complex political maneuvers in the latter third of the book. This limitation of the audio format became most apparent during the intricate legal scenes, where the nuances of medieval law required particularly close attention.
John Lee’s performance deserves special commendation for its emotional intelligence. His portrayal of Ragna’s culture shock upon arriving in England resonated deeply with my own experiences as an Asian academic in Western institutions. The subtle tremble in his voice as Ragna realizes the fragility of her position captured that universal immigrant experience of navigating unfamiliar power structures.
For listeners familiar with the Kingsbridge series, this prequel offers fascinating origins for many elements from ‘Pillars of the Earth.’ The audio format makes these connections particularly poignant – when Lee describes the humble beginnings of what would become Kingsbridge Cathedral, his reverent tone invests the moment with appropriate significance. It reminded me of hearing a skilled lecturer connect historical dots during my graduate studies.
The audiobook’s production quality matches its ambitious scope. The subtle use of reverb during church scenes and the careful pacing of battle sequences demonstrate thoughtful audio engineering. However, purists should note that this isn’t a full-cast production – Lee’s solo narration carries the entire weight, which he does with remarkable consistency across the novel’s sprawling timeline.
As someone who has taught medieval literature for fifteen years, I particularly appreciated how this audiobook makes the period accessible without sacrificing historical complexity. Follett and Lee strike that delicate balance between entertainment and education that I always strive for in my own lectures. The detailed depictions of monastic life, boatbuilding techniques, and feudal politics could serve as excellent supplementary material for history students.
While the novel follows many conventions of historical sagas, the audio format breathes new life into these familiar elements. The romantic subplots gain intimacy through Lee’s nuanced delivery, and the frequent scenes of violence carry appropriate visceral impact. This reminded me of how my Japanese literature students often report that hearing haiku read aloud reveals dimensions invisible on the page.
Potential listeners should be prepared for the audiobook’s deliberate pacing. Follett takes his time establishing characters and setting – a approach that pays off richly in later payoffs but requires patience in the early hours. This structural choice mirrors the slow transformation of the Dark Ages into the Middle Ages that the novel chronicles.
In comparing this to other historical fiction audiobooks, Lee’s performance stands alongside the best of Simon Vance’s work in similar genres. However, Follett’s particular blend of architectural detail and human drama creates a distinctive listening experience that will especially satisfy fans of meticulously researched historical fiction.
With scholarly appreciation for the oral storytelling tradition,
Prof. Emily Chen
