The Kiss

I’ll admit, I rolled my eyes at the premise—*another* love triangle? But *The Kiss* disarmed me within chapters, thanks to Dodd’s knack for writing flawed, *interesting* teenagers and Martel’s narrational chameleon act. Martel doesn’t just *read* these characters; she *embodies* them. Harry’s posh drawl drips with the confidence of someone who’s never been told no, while Noah’s lower register carries the weight of his unspoken resentment. Even side characters—like the vicious queen bee Isabella—get distinct vocal textures, turning what could’ve been a flat antagonist into a scene-stealer. The production quality is impeccable, with seamless edits that never pull you out of the story. That said, the middle act drags slightly with repetitive will-they-won’t-they cycles, and Mallory’s occasional passivity frustrated me (girl, *demand* better!). But the payoff—a third-act confrontation that’s equal parts devastating and cathartic—makes the slog worth it. What I loved most? The audiobook’s *atmosphere*. Martel’s delivery of London slang (“bloody hell,” “you wanker”) and the ambient sounds of boarding school life (distant laughter in halls, rain against windows) create an immersive listen that’s rare in YA romance. It’s not perfect, but it’s *addictive*—the kind of audiobook you’ll blast through in a weekend, then immediately text your friends about.