These Days – The Bookish Mutant

Happy Sunday, bibliophiles!

It appears that my way of telling the world that I’m very done with winter, thank you very much, is by making brighter and brighter color schemes for these posts. The songs aren’t *all* necessarily happy, but hopefully a handful will bring some warmth to you into these chilly times. Bring on Spring already, huh?

Enjoy this week’s songs!

SUNDAY SONGS: 2/12/23

“Bicycle” – St. Vincent

You know those movie/TV scenes where the protagonist sees somebody from across the bus/train station, and then the bus/train/insert vehicle of your choosing passes by, and the person mysteriously disappears by the time the protagonist looks back?

forgive the, ah…interesting editing, this is the only clip I could find 🥴

Yeah, that. Sort of. Maybe a bit artsier. Not to dunk on the Sam Raimi Spiderman movies, my beloveds (except for this one, I still haven’t seen it), but I can’t think of an artsier example. More in line with the feel of the song.

My roundabout point is that this is how “Bicycle” makes me feel—I could either be the mysterious person who disappears behind the train, or the onlooker watching them from across the tracks. I can practically feel the beret, peacoat, and plaid scarf descend upon me, walking through puddles in high-heeled boots as the mysterious person from across the station vanishes…

As much as I adore St. Vincent’s shreddier side, I always feel a little nostalgic for her earlier, art-pop days when I hear songs like this. I didn’t even know it existed until I saw it hidden in her earlier singles, apparently a b-side to “Actor Out of Work” that never made it onto Actor and sort of faded into the background of her catalogue. And even though it fits more of the impressionistic forays of Marry Me, it’s a crime that this song doesn’t get any attention. With a slow build from a collage of light woodwinds and pianos, it feels like a watercolor painting of a city in the rain. Annie Clark’s voice, which rocks like gentle waves as she muses about a stolen bicycle and a pair of tennis shoes, creates an atmospheric painting of a song. The point at about the 2:36 mark where the background steps into a different key, practically feels like levitation. It’s a beautiful song, and it’s a crime that it took me this long to find. Either way, what matters is that I have the chance to listen to it now, and I’m already starting to listen to it nonstop until I’m sick of it. I doubt I’ll get sick of it.

“Cody’s Only” – Wednesday

I found out about Wednesday completely on a whim while glancing at an article about NPR’S 2023 artists to watch. I came around to this song, and just like that, I’ve got another few albums added to my never-ending hydra of a list of albums I need to listen to. One song was all I needed to get hooked; Karly Hartzman’s vocals have a likably nasally quality to them, lingering in the quiet, guitar-plucked first minutes of the song, then soaring to the point of exhaustion as the guitars explode into fuzz once more. “Cody’s Only” is a song that keeps you on your toes: you think it’s just another quiet, sadgirl indie song for the first thirty seconds, but as soon as the heavy guitars and percussion kick in, you’re blown out of your seat. I’ve only listened to a handful of their songs now, but they remind me a little of Snail Mail, maybe with a bit of Horsegirl mixed in, but I’m sure that I’ll be hooked on at least a few more of their songs. I don’t want to get my hopes up too too high, but I might be a fan…

“Hello Sunshine” – Super Furry Animals

And you thought I was done with Super Furry Animals for the week? Gotta keep you on your toes somehow…

I already talked a bit about the Wendy & Bonnie sample at the beginning of this song last week, but I’d be remiss if I didn’t talk more about this song, especially with how much I’ve been listening to it lately. Despite how much said sample creeped me out, it’s a song I remember fondly from my childhood, and it still retains that signature joy to this day. Paired with the music video and its cheery, pseudo-pegasus creatures, it’s a song that brought sunshine into some of the freezing days of the past few weeks. After the distorted sample fades out, it launches into a perfect package of Britpop joy. It’s not as loud, explosive, or experimental as some of their other hits, but it’s pure comfort. Listening to it feels like you’re in the strange, animated world of the music video, bright, cartoony, and filled with…well, sunshine. It’s a song that’s begging for the hopeful end credits of a movie, and it’s a song that never fails to fill my heart with a little warmth in these cold months.

“These Days” (Nico/Jackson Browne cover) – St. Vincent

Another St. Vincent song that I had no idea existed until recently…I’ve given up all shame in doubling up on artists on these posts now. I am forcing you to listen to St. Vincent singles ca. 2008-2009.

You can’t deny how somber this song is (and Jackson Browne apparently wrote it at 16? never ceases to amaze me), but there’s some kind of intangible hope that Annie Clark’s take brings to it. This was one of the first singles she ever released as St. Vincent, a b-side of “Jesus Saves, I Spend,” and it’s hard to think of a better cover to go along with the art-pop sensibilities of Marry Me. The more delicate side of both Annie Clark’s airy voice and her intricate guitar playing suit this song; maybe it’s this that gives this version more hope: there’s a hidden brightness in her instrumentation, wistful, but not quite sunk in sadness. Clark might as well be a sort of musical, more positive King Midas—every cover she touches turns to gold, and even if it was already gold, she makes it shine even more.

(…except for that cover of “Funkytown.” We don’t talk about Funkytown.)

“Main Titles” (from Only Murders in the Building) – Siddhartha Khosla

We’re ending on a happy note, trust me. Short and sweet.

I’ve recently started blowing through Only Murders in the Building (NO SPOILERS, I STILL HAVEN’T FINISHED SEASON 2), and it’s easily the most delightful show I’ve watched in ages. And given that the premise surrounds a true crime podcast and an actual murder, that’s saying something. But then you throw in two eccentric old guys and an equally eccentric Selena Gomez, an old apartment building in New York City, and some weird shenanigans involving a cat, and it’s instantly the most comforting murder show you will ever watch. And it’s almost enough for me to forgive Cara Delevigne for getting on my nerves so much, and that’s saying something.

Key word there is almost. The bar is in the Mariana Trench.

But one of my favorite parts of the whole show, the very thing that shouldn’t have a whole lot to do with the content of the story itself, is the opening credits:

I could go on for days about how wonderful the animation is, but half of what makes it shine is the background music. Even though it’s short enough for YouTube to constitute is as a Short™️ (and definitely not Trying To Capitalize Off Of The Success Of TikTok™️), it perfectly encapsulates the mood of the entire show; it’s all played in a minor key, giving it the slightest bit of a sinister air, but the combination of the strings, choir, brass, and the delightful little chime at the very end give it a strangely cozy, warm feel. It almost has the feel of some of the work Danny Elfman has done for Tim Burton (I know that doesn’t narrow it down at all, but hear me out); there’s an air of spooky around it, but there’s an undeniable whimsy that carries the entire song. A good theme song is hard to find in the days of the “skip intro” button (and anybody who skips this intro deserves jail time, I don’t make the rules), but this is an instantly memorable one.

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

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

Happy Tuesday, bibliophiles!

I hate to end the month on a negative note review-wise, but I just wasn’t a fan of this novel. I’ve been following Adiba Jaigidar’s books for a little while, and for the most part (still don’t see why Hani and Ishu still gets that much hype), she does well with writing diverse YA romances. I was excited to see her take on a different genre, but to my disappointment, A Million to One read as a half-baked, flimsy excuse for a heist.

For my review of Hani and Ishu’s Guide to Fake Dating, click here!

Enjoy this week’s review!

A Million to One – Adiba Jaigirdar

Josefa, Emilie, Hinnah, and Violeta: four girls from radically different backgrounds, thrown together on the RMS Titanic. Their mission: to steal a copy of the Rubaiyat, embedded with jewels and worth a fortune. With all of their skills combined, the girls are confident that they can swipe the priceless book once and for all. But the Titanic is filled with distractions, romance, and all sorts of obstacles, and the job may be easier said than done. Add in the recent revelation that the Titanic is sinking, and the four realize that they may be in over their heads…

TW/CW: drowning, mentions of parental abuse, loss of loved ones, abandonment

Yikes. I think I’m gonna have to break up with Adiba Jaigirdar after this one. I loved The Henna Wars, Hani and Ishu’s Guide to Fake Dating was decent but nothing earth-shattering, and now A Million to One was just plain disappointing. Her books have just gotten progressively worse for me? I really appreciate that she’s branching out from romance, but it really seems like she bit off more than she could chew.

Before I get to all my gripes, I will say that I loved, as with all of Jaigirdar’s novels, the amount of diversity. It’s historical fiction, but we have Black, Pakistani, and Croatian characters, a sapphic romance, and all but one of the main characters are immigrants, which is always fantastic to see. The thing about A Million to One was that everything came down to the execution, and the execution failed miserably.

If I had to sum up A Million to One in brief terms, it feels like Jaigirdar was watching your garden-variety heist movie, fell asleep half an hour in, and then tried to write a book from that memory as soon as she woke up. All of the beats of a typical heist were technically there, but they all but stood around and did nothing. Everything that should have been interesting about this novel—getting the gang together, the Titanic setting, carrying out the heist, the romance—was glossed over in favor of a good 100 pages of dithering in between each major plot point. It was the skeleton of a heist, lacking all of the meat and muscle that would have made it substantial.

For instance: the first few chapters of the novel. These were dedicated to Josefa assembling her crew, which is the kind of beat that I really enjoy in any kind of heist plot. However, all it consisted of was Josefa randomly going up to the rest of the characters with seemingly no explanation and offering them the job, and them either agreeing to it immediately (???), or, if we were lucky, having a paragraph of deliberation before agreeing to it. This could have been a perfect opportunity to develop the characters (especially since they weren’t developed much at all throughout the novel anyway) and introduce their personalities/roles in the heist, but we got absolutely none of that. It wasn’t like A Million to One was so long that this part of the plot needed to be cut down for time—it’s barely over 300 pages. There was no excuse for that.

And for the amount of opportunities that Jaigirdar had to develop these four characters, most of them were shockingly underdeveloped. Other than some insight on the motivations of Violeta and Emilie, all four characters had nearly indistinguishable voices, personalities, and no reason for being on the mission other than a vague role. We got a bit of a tragic backstory for Hinnah, at least, but a tragic backstory with nothing else to go off of does not a well-developed character make. In addition, we only got a vague idea of what the characters’ roles were—the actress, the thief, the acrobat, and the forger—often with no context. For instance: Violeta was supposed to be an actress, but we got no idea of her background, her training, and how she got to be so good. For a novel that seemed to market the diversity and individuality of the crew, it would’ve been leagues better if I had been able to tell who was who without the chapter titles.

The majority of the novel ended up being a bunch of meaningless dithering about on the Titanic, which was intended to…build up the suspense, I supposed, but it felt like far too many pages of The Gang running around the ship, chatting with a boy or two, trying to throw the guards off their trail, and making no progress whatsoever. There was supposed to be a romance somewhere hidden in there, but it ended up being my problem with Hani and Ishu, amplified: two characters just got thrown together with zero prior chemistry, insinuation, or anything that would suggest love. It got to the point where any movement in the novel was indistinguishable, and by the time I finally got around to the actual heist, any semblance of suspense or action had vanished. The only thing that managed to partially grab my attention was the fact that the Titanic had started to sink, but by then, the only aspect that somewhat grabbed my attention was that half of the main cast died. If major character deaths are the only thing that are keeping your reader interested, then something is very wrong with your plot.

All in all, a break from form for Adiba Jaigirdar, but one that ended in a half-baked, borderline boring disaster. 2 stars.

A Million to One is a standalone, but Adiba Jaigirdar is also the author of The Henna Wars, Hani and Ishu’s Guide to Fake Dating, and the forthcoming The Dos and Donuts of Love.

I’ve already posted once today, but have another song anyway:

such a lovely cover 😭

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

Tag: These Days

Sunday Songs: 2/12/23

Book Review Tuesday (1/31/23) – A Million to One