Communion
The author narrates a single first-person account told in order. Nothing confirmed points to print.
- Audiobook
- 7h 50m
- Narrated by
- J. D. Vance
- 304 pages
Memoirs read by the people who lived them, and non-fiction you may want in print.
The author narrates a single first-person account told in order. Nothing confirmed points to print.
A full cast of actors and letter writers reading their own letters, with nothing confirmed pointing to print.
One author voice and a 688-page book pull towards listening; about 1,100 endnotes in print (per one review) pull towards reading.
One narrator, one argument in time order and a long book point to audio, but the timeline, maps, photographs and diagrams are only in print.
Three or more strands of story for one narrator point to reading, and a print edition over 400 pages points to audio.
One author’s voice and one narrator point to audio, but the notes, index and appendices are only in print.
The author reads his own memoir, which points to audio, but the story moves between the funeral week and earlier years.
The author reads her own account, which points to audio, but the book opens near the end and then goes back in time.
The author reads her own memoir, which points to audio, but the timeline moves back and forth under season and year headings.
One storyteller and one narrator, with too little confirmed for a stronger verdict.
One narrator, praised narration and a long book favour audio; a story that moves back and forth in time and about 71 pages of endnotes favour print.
At 496 pages the book is long, which favours audio. The index and the notes at the back favour print. Nothing else could be confirmed on either side.
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Memoir is the only genre with a check of its own: a memoir read by the person who lived it automatically counts towards listening. Charles Spencer’s Swan Song, Belle Burden’s Strangers and J. D. Vance’s Communion all meet that check, Communion at 100% and the other two at a leaning 65%. Narrative history and popular science fall under the ordinary rules, and Sapiens is a listen as a leaning verdict (77%) and Say Nothing a listen as a close call (59%).
Non-fiction is better read when the notes and reference material matter. On this shelf only Biological War is a Read verdict (read, 73%), because it has several strands of story for one narrator to read. Protocols, a reference book with about 1,100 endnotes in print (per one review), is still a listen at 77%, and Regime Change, a 496-page book with an index and notes at the back, comes out as either works (50%). Each verdict says whether a PDF of the figures is included with the audiobook, because often it is not.
Not always, but an author reading their own life story meets one of the 13 checks on its own, and most memoirs also tell one story from one point of view. A memoir with photographs, documents or a complicated timeline can still be better read.
Only for memoir and personal story. An author reading their own history or science book is judged on the performance like any narrator, under the check for award-winning or praised narration. Patrick Radden Keefe does not read Say Nothing, and Yuval Noah Harari does not read Sapiens, so neither question arises there.
Communion (100%) and Letters to Our Sons (100%), then Protocols and Sapiens (both 77%). Communion is read by its author, and Letters to Our Sons has a full cast of actors and letter writers reading their own letters.
Listen on Audible, on our checks (77%, leaning). One author voice and a 688-page book pull towards listening, and about 1,100 endnotes in print (per one review) pull towards reading. It is a reference book, with tables, protocols to follow and sections to return to, so Kindle is still where you can search it. Andrew Huberman reads it himself.
Usually not. Say Nothing’s 71 pages of endnotes, index and photographs are print only, and no audiobook listing mentions a PDF. Each verdict page says what the recording includes and what is only in print.
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