From Publishers Weekly
Charlie Mortdecai will appeal to listeners because he hovers in the gray area between right and wrong. Hes absolutely charming and cultured as he relates his illegal pursuits in the world of arts and antiques. Prebbles mature raspy voice enhances Mortdecais appeal as he navigates listeners through this first hand account of his adventures in the United Kingdom and the United States as he delivers and acquires highly sought-after goods. Accompanied by his intelligent but gruff servant, Jock Strapp, Mortdecai uses his keen wit, quick thinking, and upper-class esteem to manage his way out of some zany predicaments. Although perhaps a little older sounding than the "middle aged" Mortdecai, Prebbles timing, tone, and emphasis in this very sarcastic narrative more than makes up for the discrepancy. Unfortunately, poor sound editing leaves over half a dozen instances where Prebbles voice audibly shifts, ruining the pre-established pace and tone as if the segment was re-recorded and slipped into the original piece. These distractions only briefly deter the listener from full encapsulating themselves in this enjoyable tale.
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--This text refers to the
Audio CD
edition.
*Starred Review* Just read the first page of this book and try to keep a straight face. Then try to put the book down. You won't be able to do either one. This cult classic (the first of a trilogy), about louche, sybaritic Charlie Mortdecai, an art dealer largely untroubled by conscience, draws readers into its unpolitically comic world and keeps them there. The plot concerns Mortdecai's efforts to keep one step ahead of nemesis Martland, a policeman vested with the power to work outside the law, and to deliver a stolen Goya he has concealed in the headliner of his Rolls Royce Silver Ghost. The plot takes him to America (where is he much bemused by the locals, and they by him) and back again, ending in a most intriguing predicament. Wry and dry, picaresque and profane, a book like this can be so hard to describe that efforts to do soinvoking some or all of P. G. Wodehouse, Kingsley Amis, Vladimir Nabokov, even Hunter S. Thompson and John Kennedy Toolegive the impression that it's a Frankenstein's monster. Not true. Bonfiglioli's Mortdecai is a true original, and there's nothing quite so hard to describe as that. Graff, Keir
--This text refers to the
Paperback
edition.