I’m finally done with the semester, so I figured I would celebrate with a festive book tag! I found this one over at The Corner of Laura (who always finds the best tags), and the tag was originally created by Browsing for Books (note: at the time I’m doing this tag, this blog is no longer active).
Let’s begin, shall we?
☕️THE HOLIDAY DRINKS BOOK TAG☕️
HOT CHOCOLATE | Marshmallows and chocolate and whipped cream, oh my!
Recommend a book that’s sweet through and through.
Rom-coms typically aren’t my go-to, but Tweet Cutewas so wonderfully fluffy and sweet—and full of tasteful food puns.
PEPPERMINT MOCHA | The flavor of peppermint is strong and distinct.
Recommend a book with a lot of strong emotions.
Our Wives Under the Seapacks an impressive amount of emotion into just over 220 pages—and all of it pays off.
APPLE CIDER | It’s so good, it can’t be good for you…but it’s from apples, that means it’s healthy, right?
Recommend a book full of characters with questionable morals.
A Memory Called Empireis rife with all sorts of political backstabbing, and just as many characters willing to turn on each other…
EGGNOG | It’s creamy and smooth with a little spice, and some people even add alcohol to it.
Recommend a book that’s mostly fun with just a hint of danger.
Flowerhearthas enough stakes (read: brief flower-related body horror) to give it a kick, but despite its flaws, what I can say is that this book was wholesome and warm all the way through. This one could’ve worked for the first prompt too…
GINGERBREAD LATTE | A drink with a veritable explosion of spices
Recommend a book with a lot of action.
Victories Greater Than Deathis absolutely chock-full of action! There was never a dull moment in this book, although it did get too heavy-handed with the action at some points.
I TAG ANYONE WHO WANTS TO PARTICIPATE! Happy holidays, everybody!
Today’s song:
That’s it for this book tag! Have a wonderful rest of your day, and take care of yourselves!
Happy Sunday, bibliophiles! I hope this week has treated you well.
I’m finally out of finals hell! Hopefully I’ll have more time to write and read in the next month or so, but I’ll certainly be sleeping. As a celebration: songs for the beach, songs for the ocean, and songs for when you need to cry and dramatically drape a hand over your forehead. You’re totally in a movie for the latter. Totally.
Seems like I’m somewhat late on the Laufey train, but then again, she’s young and she’s certainly got tons of records ahead of her, so I suppose I’m not that late. She has, however, swept the internet for doing something almost unthinkable—her noble cause of bringing jazz to Gen Z. It’s an incredible cause to spearhead in your musical career, what with jazz being up there with country at the butt of every “I listen to everything but this” joke and not selling well as a genre for decades. I say this as somebody who falls into the former category with both of those genres, but from the scope of what I’ve heard, Laufey’s brand of jazz isn’t the kind of bland smooth jazz you hear in a spa and never hear about again. It’s the kind of dramatic, emotional vocal jazz sung by the likes of Ella Fitzgerald and Billie Holliday—two artists who she cites as some of her biggest musical influences.
Some of her other tracks (“From the Start” and “Falling Behind” comes to mind) spread like wildfire across social media this year, but although they weren’t enough to lift out of slightly out-of-the-ordinary background music for me, I’ll admit that my heart’s been fully captured by “Let You Break My Heart Again.” It’s the absolute best sort of high drama; the swelling instrumentation of the Philharmonia Orchestra in concert with Laufey’s low, honeyed voice make it just the sort of thing to listen to while imagining yourself leaning out the window and pretending you’re in a movie. It practically begs for flowing dresses and a hand artfully draped over your forehead. (Oh! I’m fainting…into your arms…) I’ve never been one for Disney, much less their musicals, but this song almost seems like the kind of princess’s solo number that stands the test of time. I’m also not a jukebox musical kind of person, but having this as the emotional climax while the lead actress laments into the spotlight doesn’t sound like a terrible idea. With every soft flutter in her voice, you can feel the yearning and heartache creep through the windowsill like golden-hour sunlight. I just can’t help but dramatically twirl around and collapse into my (imaginary) ballgown with every listen.
In closing, the genius who paired this song with this video deserves a raise at whatever job they’re in:
I keep having to say this, because it needs to be said: The Apples in Stereo seriously tapped into the wellspring of indie-pop magic, and we barely seem to have acknowledged that. No other band of their ilk, that I can think of, has managed to consistently produce the sheer amount of glimmering pop capsules that they have in the lifespan of their band. Under-appreciated genius, for sure.
“Glowworm” falls into that perfect category of songs that seem to be shaded in the same colors of the album cover. In this song’s case, this song glows with the same bright yellow-greens of the album art for Fun Trick Noisemaker, just like the gentle, greenish flicker of the titular glowworms and fireflies. And like the bugs it’s named after, this song feels like a swarm of gentle lights illuminating the summer night, sparking and glowing with lively energy (no pun intended). Robert Schneider’s soft voice jumps and bounces around the almost nursery rhyme-like opening lyrics (“Put a penny in the pot/Put a nickel in your pocket/Every nickel that you’ve got/Is a nickel in the slot”), opening like a storybook into a glittering tale of yearning after a reckless lover—”You just had to spend it all/Every hour, every minute/You had to make it all/Wonderful, beautiful.” Like the fleeting glow of the worm, it’s a there-and-gone kind of love—”You lived to burn.” But the ecstatic burn is one that you can instantly feel in your heart—the song makes you travel on a trail of light up into the night sky, just like fireflies.
…AND A BOOK TO GO WITH IT:
Nothing Burns as Bright as You – Ashley Woodfolk – the song is decidedly more lighthearted (at least, that’s how it sounds) than the book, but the feeling of falling in love with a fiery, reckless person remains the same. This book, however, deals with the fallout.
“Genius Of Love” has found its way everywhere—most prominently sampled in Mariah Carey’s “Fantasy” (oh, look, we’re mentioning her in December without mentioning…okay, I’m not gonna say it, that’s too easy)—and I feel like it has almost made us forget how delightfully bonkers it is. Heck, here I am in my dorm, looking at the boygenius picture that I cut out of a magazine and pasted on the wall, and it’s captioned with “genius of love.” It’s everywhere. If this song had a physical representation, it would probably be some kind of collage, but the kind that looks mindless from a distance—a bit of yarn here, some googly eyes there, and some brightly-colored but dried-out markers to color the background—but with a closer look, clearly has all the intention in the world. And yet, it’s such a meticulous pop song. I’d expect nothing less from half of the Talking Heads.
I mean, this starts off with Tina Weymouth doing a playful spoken-word segment with the affectation of a 50’s housewife in a grainy commercial: “What you gonna do when you get out of jail?/I’m gonna have some fun/What do you consider fun?/Fun, natural fun.” The delivery of that last line seriously makes me think that I’m about to be sold some kind of unnaturally green jello salad or something. But it all works so ridiculously well together. After the whole housewife bit, Weymouth’s gorgeous voice really has the chance to shine—the sincere sweetness of it makes every repetition of “I’m in heaven/With my boyfriend, my laughing boyfriend” seem nothing but genuine, like there’s a halo of cartoon hearts and bluebirds circling around her head. And the synths—they really feel like you can touch them. They pulsate and bubble and twinkle in every part of your ear. It’s no wonder that this song is one of the most sampled songs of the 80’s, especially in hip-hop and R&B from the 90’s up until as recent as last year. I’m getting mixed signals from the internet about the exact amount of times it’s actually been sampled—the sources range from around 50 to a whopping 179, but either way, the legacy of “Genius of Love” cannot be overstated. The synth heard ’round the world.
I’ve had a brief kick of collecting random Jay Som singles for my hoard, and I haven’t regretted a single second of it. Even if the songs weren’t as good as they are, I’d still come out the other side with song titles like this. This one is like a “Crocodile Tears and the Velvet Cosh” situation—if there every is another song called “O.K., Meet Me Underwater,” it’ll be copying this one.
Besides being so charmingly memorable, “O.K., Meet Me Underwater” has the advantage of being made for a Jay Som song. Her trademark of slightly off-kilter electric guitars and synths and the water-smooth ripple of how it all sounds together was made for a song title like this. All of the instrumentals already could have sounded like they were recorded from just under the surface, only slightly to the left of being muffled by a stream of bubbles rising from the depths. As Jay Som sings the chorus of “If you’re feeling okay/Meet me underwater,” every word feels like it’s being spoken just before she dips her head back down into the waves, beckoning you to follow her to some kind of colorful coral reef kingdom befitting of the cheerful glimmer of her music. Even that deliciously bouncy riff starting at 1:04 sounds like something you’d hear in the background of an ocean-themed episode ofReally Wild Animals (PLEASE tell me somebody else remembers those), or even just some cartoon they play in the background of an aquarium, complete with smiling dolphins and clam shells opening and closing to the beat. The neon yellow on the cover of the single doesn’t do nearly enough justice to the summery glow of this song—you’d need a whole, pastel-oceanic palette to capture the whole song.
I know a somewhat clever band name when I see one, but I also see a contentious one when I see it as well. The wordplay is great, but upon further reading, it looks like the Allah-Las, a band consisting of predominantly white, non-Muslim dudes from California, mostly picked the name because it was “holy-sounding.” They have faced some criticism for the name from the Muslim community over the years, and they’ve clarified that they never meant any ill will or disrespect by it, but even then, there’s still an undeniable uncomfortableness about a bunch of white guys from LA slapping the name on themselves with what seemed like very little thought behind it.
That aside, if there’s one thing white guys from California are good at doing, it’s making songs about the beach, and man, the Allah-Las nailed it. It’s not necessarily the kind of bouncy Beach Boys song that you’d expect from that descriptor—”Catamaran” takes plentiful notes from the other side of the sixties, a summertime, surfy beach walk by way of the Kinks. It’s got all the ingredients for a slightly left-of-the-dial 60’s dial bubbling in the pan—bright, jangly guitars, gentle percussion, and the kind of lyrics that sound like they could have just as easily slipped out of the mouth of the likes of Jim Morrison: “I’m an oyster pearl’s locked up in a shell/You better bring that diving bell.” What plucks the Allah-Las out of the 60’s is the kind of flat, disaffected vocals running rampant in every white guy who has ever pursued a career in indie pop—like TV Girl, it gets on my nerves for the most part, but in the sun-baked sepia of the rest of the song, it almost makes sense.
I liked the first book in Charlie Jane Anders’ Unstoppable trilogy, Victories Greater Than Death, so when I saw book 2 at the bookstore the other day, I figured I’d give it a shot. I ended up giving it the same rating as book 1, but for different reasons; it felt like a middle book, but that wasn’t always a bad thing.
Now, tread lightly! This review may contain spoilers for book 1, Victories Greater Than Death.If you have not read it and intend to, proceed with caution!
For my review of Victories Greater Than Death, click here!
Tina and her band of unlikely heroes have saved the universe—for now. But what comes next?
Tina has begun her studies at the Royal Space Academy, but every day, she’s still haunted by her transformation. As she begins to lose her former self, she questions whether or not her duty is worth it. Elza, already feeling distanced from Tina, enters a competition to become a princess, but is faced with the ghosts of the past in the famed Palace of Scented Tears. And Rachael, the quiet artist of the group, is struggling with the loss of her artistic abilities after a run-in with a strange artifact. All the while, the threat of the xenophobic Compassion is on the rise, and if it’s to be stopped, the three friends must reunite amidst their personal struggles.
TW/CW: sci-fi violence, murder, xenophobia, anxiety,descriptions of injury
Dreams Bigger Than Heartbreak had the unmistakable feel of a middle book. However, that doesn’t mean that I didn’t enjoy it.
Despite some of its shortcomings, Charlie Jane Anders’ brand of space opera is a breath of fresh air in the world of YA science fiction. The worlds she creates are multilayered, complex, and immersive, and all of the aliens in them are equally creative. For sci-fi fans looking for a series that’s endlessly creative, look no further. What makes it even better is the vast range of diversity present—just to name a few, we have a queer protagonist, a Black, Brazilian, queer protagonist, and a plus-sized protagonist with anxiety as the stars of Dreams. There’s queer rep aplenty in Dreams Bigger Than Heartbreak, and there’s something for everybody—it’d be hard to find some facet of yourself represented in some way in these books.
That being said, there were certain aspects of Dreams that I wasn’t as big of a fan of. Anders’ writing was what stuck out to me in this book in particular. There’s not much dressing on her prose; that isn’t always a bad thing, but it felt very bare-bones to me—lots of “[they] felt,” “[they] knew,” “[they] saw,” etc. I forget if this was as exacerbated in book 1, but this was what took away from my enjoyment the most in Dreams. At times, it almost had the effect of being talked down to—not an ideal writing style.
Additionally, I feel like the plot and pacing weren’t as strong as book 1’s were. While Victories moved at an almost dizzyingly breakneck pace, Dreams was comfortable to slow to a crawl, which was necessary for the character-building, but did little to move the plot forward. The plot itself was also lacking—it explored the paths of Tina, the protagonist of Victories, as well as Elza and Rachael. All of their POVs were interesting in concept, but Rachael’s tended to drag along. Although I love all of the characters that Anders created, it would’ve benefited the book so much more to just be from Tina’s POV; her plot was the most compelling of the three, and yet, it’s the one that the least time was allotted to. Once the three were reunited towards the end, it picked up, but before the last third of the book or so, it bordered on being a slog—I’m so surprised I’m saying that, given how overwhelmingly fast-paced Victories was!
However, as in Victories, the themes were as strong and timely as ever. Togetherness, acceptance, and fighting xenophobia and prejudice are at the heart of this story, and with such a diverse and lovable cast, these themes shone brighter than ever. It’s just the kind of sci-fi story we need right now, and I’m excited to see how it ends next year!
All in all, a victim of second-book-syndrome that made up for some of its flaws with its timely themes and loving and accepting energy. 3.5 stars!
Dreams Bigger Than Heartbreak is the second book of the Unstoppable trilogy, preceded by Victories Greater Than Death and concluded by the forthcoming Promises Greater Than Darkness, slated for release in 2023. Charlie Jane Anders is also the author of All the Birds in the Sky, The City in the Middle of the Night, Six Months, Three Days, Five Others, and several other novels and short story anthologies.
Since I’ve already posted once today, check out my May 2022 Wrap-Up for today’s song.
That’s it for this week’s Book Review Tuesday! Have a wonderful rest of your day, and take care of yourselves!
My sense of time has been w a y off this week; I’m still recovering from all the chaos and festivities from graduation last week, so this week has all been coming down from all that. The weather’s warmed up after that big snowstorm we had on the day of graduation, and I’ve been trying to get some stuff done for college and get some more reading done.
I haven’t been able to read or write much this month, so I’ve been trying to remedy the reading part, at least. I’ve had more time to read this week, and it’s been a hit or miss batch this week, but I found some great ones (one of which was a graduation present from my parents—thank you! 💗) I have some Fantastic Four comics that I want to read next week (from my dad and my brother, after realizing that I hadn’t read any while we were discussing the new Doctor Strange), so that’ll be fun.
As far as writing goes, I haven’t written much lately—more outlining, but I’m not sure if I should go on editing the WIP, fine-tuning its sequel, or just starting something new. I’m leaning towards the latter, but I’m not sure what I’ll write…we’ll see.
Other than that, I’ve just been drawing when I can, playing guitar, seeing Spoon live (amazing, as they always are), listening to the new Wilco, and watching Everything Everywhere All At Once (tears were shed).
The Bookish Mutant 