Id suggest that you read Christopher Moore's Bloodsucking Fiends (also subtitled A Love Story) before cracking open - or pressing play on - You Suck. You can follow this novel - the middle installment in a trilogy - without it, because there is a fair amount of recapping, but it will probably make more sense if you've read the first book. That is, if a comic saga of modern vampire love in San Francisco is capable of making any sense at all.
Nineteen-year-old Midwesterner Tommy Floods efforts to keep his vampire girlfriend Jody Stroud safe by having her bronzed were rather undone by her escaping from her enclosure (in the form of mist) and turning him into her undead consort. Jody hasn't been a vampire all that long herself, but shes learned enough to show Tommy the ropes, which include finding food sources, never being caught out in the open at sunrise, and dodging Tommy's former co-workers on the night crew at Safeway, a couple of homicide detectives, and the ancient vampire who originally turned Jody.
Christopher Moore is solidly ensconced on my favorite authors list, especially since I introduced my husband to his books, but it has taken me an embarrassingly long time to get around to reading You Suck - so long that I decided that I'd try listening to it instead. Having found that humor works in audio for me, I chose this as my first fiction audiobook (and first not read by the author), and I think I made a fine call. While I've been known to laugh out loud while reading Moore's books in print, I'm not sure I've ever laughed as much as I did while listening to You Suck...and I'm not going to say that's because its his funniest book (it might be, but I cant really make that distinction). I think it's that humor is enhanced by delivery, and it may be that sometimes it's delivered more effectively in vocal and visual form than via words on a page. Narrator Susan Bennett does an excellent job with the voice characterizations here, particularly with Tommy, teenage perky-Goth-girl Abby Normal (who narrates portions of the story via her diary), and the homeless Emperor of San Francisco, and handles the narrative portions as the calm voice of reason, no matter how outlandish the situation gets - and with Christopher Moore, outlandish situations are a given.