When published in 1967, Rosemary's Baby
was one of the first contemporary horror novels to become a national bestseller. Ira Levin's second novel (he went on to write such fine thrillers as A Kiss Before Dying
, The Stepford Wives
, and The Boys from Brazil
), Rosemary's Baby
, remains perhaps his best work. The author's mainstream "this is how it really happened" style undeniably also made the novel his most widely imitated. The plot line is deceptively simple: What if you were a happily married young woman, living in New York, and one day you awoke to find yourself pregnant? And what if your loving husband had--apparently--sold your soul to Satan? And now you were beginning to believe that your unborn child was, in reality, the son of Satan? Levin subtly makes it all totally plausible, unless of course, dear Rosemary--or the reader--can no longer distinguish fantasy from reality! A wonderfully chilling novel, it was later faithfully transformed into an equally unnerving motion picture. In 1997, a sequel was spawned, Son of Rosemary
. --Stanley Wiater
--This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
Farrow's soothing reading of Ira Levin's classic returns her to the project that made her a star in Roman Polanski's eerily sedate thriller. Rosemary and Guy Woodhouse move into an ancient Manhattan apartment building and are immediately befriended by a pushy older couple, Minnie and Roman Castavet. When Rosemary becomes pregnant, she begins to suspect that the people in her building are satanists and that she may be carrying a demon's baby. What makes Levin's tale so haunting is how the horror is kept inconspicuous so tensions mount as ordinary events turn disturbing. Caedmon's packaging is outstanding, with inner sleeves listing track lengths and the first few words spoken on each track, making it easier to navigate. Farrow is an ideal choice as a reader for her history as well as her expressive and controlled reading. She doesn't attempt different voices for each character, but she does adapt a flat, nasal tone for Minnie (rather than imitate Ruth Gordon from the film). Subpar sound mars this classy recording: the volume is low and Farrow's voice sounds like it was recorded in a large, hollow space. Levin's thriller was previously recorded by Eileen Heckert in a 1986 three-hour abridgment from Random House Audio. (Nov.)
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