Posted in Book Review Tuesday

Book Review Tuesday (7/4/23) – Painted Devils (Little Thieves, #2)

Happy Tuesday, bibliophiles, and happy…Tuesday. The fact that the Fourth of July comes so close on the heels of the Supreme Court releasing the results of all of their major rulings has significantly soured most attempts I’ve tried to have at patriotism (especially since we have the incredibly unfortunate conservative majority controlling far more than they should), especially in our post-Roe era. None of that puts me in a particularly patriotic mood. But, as always, criticizing your country and pushing for change that will make it better is, to me, is the best kind of patriotism. And if nothing else, I get the day off work today. I’m not about to complain.

That aside, I’ve got an exciting review today! Ever since I devoured Little Thieves back in January, I’ve been itching to read the sequel, which came out this May. After a few failed attempts to get it on Libby, I finally got a physical copy from the library and ate it up as quickly as I did its predecessor. And although I liked it slightly less than book 1, Painted Devils retained its spirit—delightful from start to finish.

Now, tread lightly! This review may contain spoilers for book 1, Little Thieves, so if you haven’t read it and intend to do so, skip over this review.

For my review of Little Thieves, click here!

Enjoy this week’s review!

Painted Devils (Little Thieves, #2) – Margaret Owen

Vanja Schmidt may have succeeded in breaking a godly curse and finding love with Emeric, but that doesn’t mean that her conniving days are behind her. In fact, they’re very much alive—and proved when she fabricates a god to get out of a slippery situation. Problem is, the townsfolk have now accepted Vanja’s Scarlet Maiden as their god, and started a cult in her name. And the Scarlet Maiden demands a sacrifice in blood—a sacrifice that Vanja can’t afford to make. While Emeric goes on a hunt to verify the Scarlet Maiden’s existence, Vanja must find a way out of the sacrifice before time runs out—and before her fraud is exposed.

TW/CW: abuse (physical and verbal), fantasy violence, blood, body image issues, abandonment, animal death, cult imagery

Seeing the phrases “we live in a society” and “scrimblo” within 100 pages of each other in a medieval-inspired fantasy book felt like being hit by a train, to say the least, but the fact that Margaret Owen very nearly pulled it off is nothing short of a miracle. I’m still reeling just thinking about it.

My months of waiting and searching are finally over—I managed to get Painted Devils in my hands, and I’m so happy for it! Although it wasn’t quite as cohesive as Little Thieves was, it was nevertheless a delight from start to finish—being back with Vanja on her chaotic adventures was nothing short of a joy in a sea of YA fantasy novels that take themselves a little too seriously, even though their protagonists are only 16.

I’ll quickly start off with my one major gripe—the reason that I docked it down from book 1’s 4.5 stars to 4.25. Painted Devils, as much as I adored it, definitely fell into the curse of book 2: all of the good elements were still there, but they lacked the cohesion that the first book had. It was all fun, but a good portion of the middle felt like the characters were running around for no reason, without much consequence to the plot. Some of it felt like filler, and for a book that was almost 500 pages long, it didn’t feel altogether necessary.

Other than that, it’s hard to find any nitpicks or problems with Painted Devils! Even though Vanja has always been the main character, this book really felt more about her—it was wholly her story, about what happens when your storied past catches up to you, and how to reckon with your past to become the person you are today. Even amidst the near-constant humor that these books have relied on, Owen manages to tackle so much of Vanja’s character with incredible aplomb, balancing her bouncing-off-the-walls personality with some genuinely heartbreaking and wholly important discussions about familial manipulation and abuse. For a series that’s often been defined by its levity, Vanja’s journey towards self-love and acceptance was unexpectedly heartfelt. It’s exceedingly difficult to balance those two aspects, but Owen made it look easy.

Beyond that, I loved seeing the relationship between Emeric and Vanja develop, both romantically and platonically! They continue to be perfect foils for each other—a physical representation of the grounded and humorous qualities of this novel, and how they complement each other. Their personalities have started to bleed into each other in the sweetest way—Emeric starting to loosen up, and Vanja reluctantly trying to do the opposite—and every moment they shared together was a delight to read. Plus, the discussions about consent are always welcome, and a refreshing break from the years of 500+ year old fantasy love interest that we’ve all had to slog through in the last decade or so.

Owen’s writing, of course, continues to be the star. It’s rare that an author can make a character whose main trait is being “chaotic/morally gray” into something that goes above and beyond the buzzwords—Vanja continues to be impressively fleshed-out, and my life is all the better for it. Some of the more meme-y humor, like the previous book, continues to be jarring in places, but Owen’s other points of humor makes for a wonderfully charming read. There’s really not much else in the world of YA fantasy that succeed like Little Thieves and Painted Devils do: bringing the joy back to a magical, fairytale-inspired world, and balancing it with the reality and darkness that every bad, gritty fairytale retelling missed by a mile. Even with the frustrating ending, I’m so eager to see where the conclusion takes Vanja, Emeric, and all the rest.

I really feel like the world needs a 2D animated adaptation of these books. Just saying.

All in all, a sequel that was a delight to read, even with its lessened cohesion. 4.25 stars!

Painted Devils is the second book in Margaret Owen’s Little Thieves trilogy, preceded by Little Thieves and concluded by an untitled book slated for release in January of 2024. She is also the author of the Merciful Crow duology (The Merciful Crow and The Faithless Hawk).

Today’s song:

XYLOPHONE SOLO

That’s it for this week’s Book Review Tuesday! Have a wonderful rest of your day, and take care of yourselves!

Posted in Sunday Songs

Sunday Songs: 7/2/23

Happy Sunday, bibliophiles!

Happy July, and happy disability pride month! Here’s a nice, warm, tomato soup and grilled cheese color palette to prepare yourself for the upcoming, inevitable heat that’ll make us all feel like human puddles. I like summer, but…to a point, y’know? Anything above 80 degrees is pushing it for me. I’d like the warmth without the sunburn, thanks.

Now I want some tomato soup and grilled cheese…

Enjoy this week’s songs!

SUNDAY SONGS: 7/2/23

“Chinatown” – Shakey Graves

I had the incredible privilege of seeing Shakey Graves last week, and I’m not just saying that because it got us out of some apparently nasty hail back home. My brother and his girlfriend had seen him twice before, and they hyped it up perfectly—his solo guitar and suitcase kick drum endeavors were exactly as mind-blowing as promised. Dude’s got some undeniable talent.

One of the songs I’d been meaning to get around to was “Chinatown”—Roll the Bones X is on my Sisyphean album bucket list, I promise, but I’ve been cherry-picking songs in the meantime. The version that Alejandro Rose-Garcia played live was a much smoother, slicker, and faster version, and as good as the performance was, it didn’t seem quite right for such a tender soul-barer of a song. The defining quality of “Chinatown” is just how raw it is—even if it weren’t stripped down, as everything on Roll the Bonex X seems to be, how could these lyrics not gut you? “There will come a day/when the earth will cease to spin/You’ll hold me close and say/’My god where have you been?'” Sweet Jesus. I seriously get a hitch in my throat every time I come around to that part. I can’t listen to this song without getting chills. It seems like the other side of “Built to Roam”—despite being built for a life on the road and never being able to settle in one place, there’s an unwavering, almost apologetic devotion to whoever it is he loves and a regret for leaving them behind—”I still have sense enough to fear/that I’m not much without you near.” Lord. I’m getting choked up just writing this. You gotta stop, Shakey…

And even though this was one of the first songs on disc 2 of Roll the Bones X, I feel like it would’ve been the perfect closer, that wistful final line of “I’ll see you soon” that fades into nothing. Sentimental, self-conscious (hypothetical) album closers, anyone?

“All Stations – Stop Spiderman” (from Across the Spiderverse) – Daniel Pemberton

Listen. LISTEN. Across the Spiderverse is already the best movie of 2023. I’m all for the BarbenHeimer double feature in a few weeks, but nothing is gonna touch this. Nothing. I can’t think of another movie that’s given me this much faith in…well, media in general. The innovative art that made Into the Spiderverse so memorable has been cranked up to eleven, and nothing beats seeing a mixed-race character in a storyline about breaking away from people’s expectations of what he should be and writing his own story. (WE LOVE YOU MILES) Plus, the emphasis on a narrative about how good storytelling and heroism isn’t automatically synonymous with suffering? MAGNIFIQUE. Add that to a) everything about Gwen and her dimension, b) Jason Schwartzman’s innate ability to play characters with short man syndrome finally translated into a full-blown villain, and c) Spider-Punk (need I say more?), it’s rocketed up to one my favorite movies of all time. Tears were shed.

And part of what made both Spiderverse movies feel so fully realized in their richly detailed atmospheres was Daniel Pemberton’s scores for each of them. Blending all sorts of genres and cooking them all in the most seamless, synthy, movie score soup in, dare I say it, cinema history, there’s no sense of trying to get a feel for the mood—it’s as though the scenes were made with the music in mind. Everything from Spiderman 2099’s memed-to-death-but-still-iconic theme to the opening titles in Gwen Stacy’s dimension feels like it was part of the movie from the start—the innovative artistry of the animation clearly bled over into the score for every track. It was almost impossible to pick just one, but “All Stations – Stop Spiderman” came back to me again and again. Set against the chaotic but beautifully meticulous chase scene in the Spider Society headquarters, the music sounds as eclectic as the many Spider-Variants and as exciting and tense as seeing them all converge onto Miles Morales. There’s no excitement quite like the quietly encroaching bass paired with frenetic drumbeats that sound of the onslaught of Spidermen. And normally, hearing heavy breathing is a major sensory trigger for me, but the brief bite of breathing into the microphone at the 0:30 makes the high-octane excitement all the more palpable. The subtle weaving of Miguel O’Hara’s theme? The perfectly-timed switch from spider-fight to spider-betrayal? Good god, there’s nothing bad to be said about this score. Or this movie.

…What are you still doing here, anyway? DROP EVERYTHING!!! GO WATCH IT!!

“Bending Heretic” – The Smile

New Smile material is the best kind of present, no matter the song, but…does this mean we’re closer to getting “Read the Room” soon? Please? Please?

Don’t let that dissuade you, though—I’m still reeling from the former after hearing it live six months ago, but I’m just as excited that “Bending Heretic” has finally gotten to see the light of day. Rarely do I think of songs as truly hypnotic, but this one puts me under its hazy spell almost immediately with its gentle, murmuring guitars. Thom Yorke’s voice weaves through each gently plucked note like a lazy river with a cloak of mist. You really do feel the musical twisting and turning as Yorke sings about “coming to a bend now/skidding ’round the hairpin/a sheer drop down/an Italian mountainside/time is kind of frozen.” Time really does seem to freeze—the smooth limitlessness of this first quarter (or so) makes you forget that it’s 8 minutes long—the longest song that Thom Yorke has contributed to, not counting his remix of “Creep.” Every transition is liquid smooth—Tom Skinner’s drums kick in imperceptibly, as though they were always there, accompanied by strings. But just as you’re lulled back into a false sense of security, the strings coalesce into a shrill crescendo, morphing into sheer power as the guitars kick back in. The last quarter of “Bending Heretic” has the feel of being hit square in the face by a tidal wave—you can feel the raw power deep in your bones. It transported me back to how awe-inspiring their live presence was back when I saw them in December. Listening to them then was unforgettable, and hearing this song come to life for the first time on streaming was just as much so.

“Cinco De Mayo” – Liz Phair

Now that it’s July, I’ve realized that we’re neck-deep in Liz Phair summer over here. Buckle up.

Ever since last week’s Liz Phair (re)awakening and my recent listen-through of Exile in Guyville, the jolly deep sea fisherman in my brain has been dredging up spare fragments of hers from some part of my mind that’s been somewhat dormant since 2017. All I could remember of this one until I looked it up was “Cinco de Mayo/uhhh something something denial,” and…for once, I was right? Sort of? Listening to this one again makes me see exactly why it wormed its way back into my brain. Phair’s dry witticisms are dialed up to their full capacity, paired with jangly guitars that bring to mind sitting on benches in the midst of dry, summer heat. Dry, summer heat is what this song really is—sitting by yourself, remembering how it felt to wince, pull off the bandaid, and quit thinking about your ex. (I didn’t realize until now that there’s two breakup songs in a row? Whoops…) And as much as I now adore Exile, it seems like that album has overshadowed everything else that Liz Phair has put out (as…divisive as some of her more recent work seems to be). I’m just as motivated now to dig my teeth into Whip-Smart as I was to listen to her debut—I already adore this, the title track, and “Supernova,” so why not? Anybody who can rhyme “denial” with “Ohio” automatically has my respect. They’re already synonyms, so it was only a matter of time.

“Independence Day” – Palehound

Every time I see a new Supreme Court decision, it cements it in my mind that this song is the only Independence Day I’ll be celebrating on Tuesday. I’m just celebrating that I’m getting a day off work, at this point.

Even if the real Independence Day doesn’t have much of the same meaning anymore, at least Palehound can fill the void with a fantastic new track, self-described as a “gay breakup song for pride month.” Eye on the Bat’s first single, “The Clutch,” was hard to beat, but “Independence Day” easily slid to my second favorite single off the record so far. From the minute that El Kempner’s snappy finger-picking kicks in, every not3 is propulsive, with winding guitar melodies that crawl up the walls like ladybugs. It’s reached the level of Palehound Perfection™️ of some of their best songs—a catchy, three-and-a-half-minute long alt-rock hit that never loses its momentum. For a breakup song, it’s deceptively upbeat—it’s pure indie catharsis. It isn’t just heartbreak, plain and simple, but a series of pictures painted on tiny canvases. Each verse feels like a neatly-cut movie scene, from the “flashes of color on your face/the bass thumping, the chanting names/our cat running under the bed with his tail between his legs” as Kempner breaks it off with her partner on July 4th, to a near-death experience on the road that could have “dug us both a single grave,” but drove them apart rather than bringing them closer together. All of it is strung together by one of Kempner’s most memorable choruses: “I’m living life like writing a first draft/’cuz there is nothing to it if I can’t edit the past/and even if I could it, would kill me to look back/no I don’t wanna see the other path.” And for someone who constantly imagines alternate timelines, universes where I made different decisions, I can see how freeing it could be to know that the path that you’re on is the one you’re meant to be on—the ones still tied to their ex, for Kempner, aren’t worth dwelling on. Cheers to that.

Since this post consists entirely of songs, consider all of them to be today’s song.

That’s it for this week’s songs! Have a wonderful rest of your day, and take care of yourselves!