The Farm
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Gesprochen von:
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James Langton
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Suzanne Toren
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Von:
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Tom Rob Smith
Über diesen Titel
Daniel believed that his parents were enjoying a peaceful retirement on a remote farm in Sweden, the country of his mother's birth. But with a single phone call, everything changes.
Your mother... she's not well, his father tells him. She's been imagining things - terrible, terrible things.In fact, she has been committed to a mental hospital.
Before Daniel can board a plane to Sweden, his mother calls: Everything that man has told you is a lie. I'm not mad... I need the police... Meet me at Heathrow.
Daniel is immediately caught between his parents - whom to believe, whom to trust? He becomes his mother's unwilling judge and jury. Presented with a horrific crime, a conspiracy that implicates his own father, Daniel must examine the evidence and decide for himself: who is telling the truth? And he has secrets of his own that for too long he has kept hidden...©2014 Tom Rob Smith (P)2013 Simon & Schuster
Das sagen andere Hörer zu The Farm
Nur Nutzer, die den Titel gehört haben, können Rezensionen abgeben.Rezensionen - mit Klick auf einen der beiden Reiter können Sie die Quelle der Rezensionen bestimmen.
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Gesamt
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Sprecher
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Geschichte
- Amazon-Kunde
- 27.07.2019
Gute Geschicht
A good Story that is well suited to learning the english language. So far I have found all books by Tom Rob Smith great.
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Gesamt
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Sprecher
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Geschichte
- BikerJoe
- 21.04.2016
Crime and Paranoia in rural Sweden
Tom Rob Smith knows how to spin a decent yarn and this book is no exception. "The Farm" might not have the heart wrenching agony, nor the fast paced action of "Child 44", but it is a gripping story nonetheless.
James Langton and Suzanne Toren are the voices of the two main characters, of Daniel and his mother Tilda and both do a great job. The voices match the characters perfectly, spoiled and stupefied Daniel and haunted Tilda.
Daniel, a gay young man, who lives with his partner in London does not have a clue of the difficulties, his parents are faced with on their farm in Sweden, where they retired to. Obviously he missed a lot during his pampered childhood and it comes as a big surprise to him, when his father suddenly calls him to tell him that his mother has run from a mental institution and cannot be found. Hours later his mother shows up in London with a bizarre story of child abuse and murder in the area, where she lives. She fears for her life and asks Daniel for help.
Daniel as well as the reader have a hard time to decide, whether the story is the product of a paranoid mind or the danger is real. More and more will be revealed, but we do not get a final answer yet.
Tom Rob Smith skillfully puts the pieces together. Sometimes you might get annoyed by Tilda's roundabout way of telling her story or by Daniel's cluelessness, but this is all part of the narrative, as you will find out.
A great story by all means with a surprising, but very plausible ending.
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1 Person fand das hilfreich
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Gesamt
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Sprecher
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Geschichte
- Markus Hellmeyer
- 05.09.2017
Good story hampered by poor voice acting
The story was quite good with a very interesting and gripping outset.
But the voice acting, especially the female parts were really annoying. Especially the bad foreign accents and the main voice. Made it really hard for me to push through this book, despite the interesting story.
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Gesamt
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Sprecher
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Geschichte
- Alexander
- 22.10.2015
A captivating read!
One of the best psychological thrillers I've read in recent years. Rich, deep characters, a great plot, and a fascinating, totally unforeseeable ending. Highly recommended!
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Gesamt
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Sprecher
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Geschichte
- Riaan Burger
- 29.02.2024
I got to chapter 6 before refunding.
The book started out strong, but once Tilda (Protagonist's mother) starts telling her story it starts grating. The voice acting is not great. Maybe a bit mismatched, but my main gripe is how the characters (MOTHER AND ADULT CHILD) talk. It is like listening to an alien's best approximation of what humans sound like.
The mother expresses herself like one would write a book so that the audience can get exposition... instead of talking like you would to a family member, which is what she is doing.
An example: When the describes her childhood to her SON, she mentions her father instead of "your grandfather". Also, as her son, does he know NOTHING about her childhood/father/whatever? If not WHY not?
The example sounds trivial, but the whole conversation is FULL of little things that pull you out of your immersion.
About 2h in. I just wanted it to stop.
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