In 1946, Martha Gaines, program director of home economics at Wilton College, receives her twelfth “practice” baby, Henry House — an orphaned child ready to be raised by students in the course as practice for their future as mothers. Martha’s strict and unloving approach to child rearing, based on many of the parenting theories in this pre-Spock era, has no bearing on the fact that she falls deeply in love with little Henry, partly due to her life’s misfortune of losing her own child shortly after it was born. She convinces the dean to let her keep Henry after the two-year time limit and raise him as her own, but Henry quickly proves to be an unemotional little boy, who has trouble returning affections to any one woman. This theme follows him during his life’s journey as he’s shipped off to a school for troubled children, becomes a talented lover of women — and through his character, exemplifies the 60s sexual revolution. As irresistible as he was as a snuggly infant, he proves to be equally so as a young man and adult.

Oliver Wyman’s deep voice lends a documentary-like quality to the novel — appropriate as the story is based on the true use of “practice” babies at colleges in the 40s. Wyman’s slow and methodic story-telling is soothing and his wide range of vocal talents creates believable characters whether he’s imitating a woman’s voice or an infant’s (his baby cries are surprisingly life-like). His approach is warm and enveloping, making even the coldest of characters (like Martha Gaines) have something likeable about them.

This iconic novel is only enhanced by Wyman’s narration and is sure to become a favorite in American literature, among the likes of Forrest Gump and The Curious Case of Benjamin Button. —Colleen Oakley