Tenderness
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Tenderness
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Narrated by:
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Antonia Beamish
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By:
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Alison MacLeod
About this listen
Bloomsbury presents Tenderness by Alison MacLeod, read by Antonia Beamish, Tim Treloar, Sophie Aldred, Bill Hope and Elliot Fitzpatrick.
The spellbinding story of Lady Chatterley’s Lover, and the society that put it on trial; the story of a novel and its ripple effects across half a century, and about the transformative and triumphant power of fiction itself.
‘A hugely daring, intrigue-packed, decade-jumping doorstopper that teasingly blends fiction and actuality with wit and panache’ DAILY MAIL
‘A triumph ... it will conquer your heart' ELIF SHAFAK
'Glorious and arresting ... A widescreen novel' OBSERVER
'A passionate, epic joy' MADELINE MILLER
'Powerful, moving, brilliant ... An utterly captivating listen' ELIZABETH GILBERT
________________________
D. H. Lawrence is dying. Exiled in the Mediterranean, he dreams of the past. There are the years early in his marriage during the war, where his desperation drives him to commit a terrible betrayal. And there is a woman in an Italian courtyard, her chestnut hair red with summer.
Jacqueline and her husband have already been marked out for greatness. Passing through New York, she slips into a hearing where a book, not a man, is brought to trial.
A young woman and a young man meet amid the restricted section of a famous library, and make love.
Scattered and blown by the winds of history, their stories are bound together, and brought before the jury. On both sides of the Atlantic, society is asking, and continues to ask: is it obscenity – or is it tenderness?
'Gorgeously written and meticulously conceived' DAVID LEAVITT
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What listeners say about Tenderness
Average customer ratingsReviews - Please select the tabs below to change the source of reviews.
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Overall3 out of 5 stars
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Performance4 out of 5 stars
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Story3 out of 5 stars
- Dr Sophie Henshaw
- 05-19-22
Well written, unusual but waaaay too long
I certainly learned some interesting facts reading this but some passages were totally boring and unnecessary making it waaay longer than it needed to be. For example, we learn all about a new character, Rosalind, about 2-3 hours before the end and I really didn’t care about where she went to school or what she thought about her home. Had to fast forward that part. Towards the end I couldn’t wait for it to finish.
Such a shame because the writing was excellent and the subject matter unusual and interesting.
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