If you haven't read any of my lifestyle posts in the past, welcome to my little diversion from book blogging. I primarily discuss Taylor Swift. So obviously, we need to talk about Midnights. First off, I want to acknowledge the absolute girlboss move of announcing a new album during an award acceptance speech. Second, I made the mistake of not watching the VMAs or being on social media that night, so basically I got the news from a frantic text from a friend something like half an hour after she put out the cover and album statement.
I meant to put out this post a few months ago, when Midnights was a thought, but now the album is out so I may as well just share my thoughts on every single song. A discussion of the Eras Tour will follow... sometime soon. I am about to have swaths of uninterrupted free time due to winter break, so hopefully I can write more. I will say I got tickets--I want to put that out there because I live tweeted my queue experience and I am so excited for the show!! Onto my track-by-track breakdown of Midnights. Album overview: I truly think this is one of Taylor's best albums to date. This is a no-skip album for me, 3am tracks included. I had my usual live-react going on Twitter at the time of release, and I was just in awe the entire time. I was exhausted in my morning classes the next day due to staying up until 3am to catch the *chaos surprise* but was delighted beyond my wildest dreams to hear the full album. I've enjoyed how Taylor has leaned into her artistry in her recent work--the fictitious tales on folkevermore, and now a concept album? I'm all in, and I love the writing on Midnights. One of the aspects I've enjoyed is how Taylor has sampled and referenced her older music on this album. It feels retrospective but also refreshing, like she's having as much fun digging into her discography as we fans do. Lavender Haze It was strange to be hearing new pop music from Taylor since her recent releases have been indie/alternative and the rerecordings of her country albums, but I can't deny that this song is catchy. I am already picturing this opening the Eras Tour (I've heard a quite catchy remix of this with I Think He Knows and I am very sold on this concept). Maroon As an artist and reader, I've always wanted to analyze Taylor's use of color in her music--this has grown over recent years (you can find it a lot on Reputation as well as her following albums) and she sometimes links back towards her own songs with these references. Maroon obviously holds connections to Red, which is all about heartbreak and love in all its forms, so this song chronicling a devolving relationship fits into that tradition, except it's a more mature song acknowledging the truth of the experience. Anti-Hero So my first instinct is to really like this song--it's bold, interesting, and takes the album in a self-reflective direction that I can appreciate. For me, Anti-Hero bringing in more of Taylor's personal fears is an expected direction--as lead single from this album and also coming back to writing personal music again after releasing two albums filled with fictional stories. I don't understand why no one is understanding the 30 Rock reference--I do get it, a lot of her fan base is too young for this show--but Taylor is the dictionary definition of a millennial and it's no surprise to me that she would have liked 30 Rock and Liz Lemon. People have also criticized the numerous remixes, and I just have to say that this isn't that many, other artists also work with different producers to remix their songs, it's just that Taylor is new to trying this and there's been backlash for the way she's capitalizing on the song. Let me note again: this is her job, and she's quite good at making money almost above all else. Again, to me the over-personalization of her music feels like an issue for the fans Snow on the Beach I was only interested in Lana Del Rey's music for a brief period of time (Born to Die Paradise Edition was my fixation for a while) so I can't really say I know how her music has evolved, but this song seems about what I'd expect of this collab. I'm a bit surprised that Taylor doesn't give her a verse, but she's never really done that with any of her collaborations on her main albums so I can't say it's too strange. Jack Antonoff must really be living the dream to be working with these women. You're On Your Own, Kid I mean… talk about monetizing pain. I feel like this one really came out of the Miss Americana movie in a way. This song makes me cry about 50% of the time I hear it, and it has one of my favorite Taylor bridges ever. I've never believed that one human being can truly understand the depths of another one's experience, but sometimes there are pieces of writing or music that come so close to delivering raw emotion straight into my brain. This is one of those songs. Midnight Rain On every album, Taylor always has at least one song that hits me right in whatever my issue du jour is. And for Midnights, it's this song. I've been struggling with my ambitions this year, feeling like I'm really hitting my stride but not sure how to manage my relationships in the middle of this. Midnight Rain speaks to that struggle for me, although I understand that the issues at hand are quite different I still think that "I broke his heart 'cause he was nice / He was sunshine, I was midnight rain / He wanted it comfortable, I wanted that pain / He wanted a bride, I was making my own name / Chasing that fame, he stayed the same" encapsulates the problems I've been having. Question...? Enchanted sequel!! I would really like a video for this song. We didn't have a video for Enchanted but I think I internalized a lot of the Wonderstruck marketing material and just invented one in my head, so I need a followup for Question...? immediately please. The waiting and desperate wondering mood of this song speaks to some of the midnight anxiety themes that were teased in the album announcement. Vigilante Shit I see this as a grown-up version of no body, no crime! I enjoy how Taylor plays with the same themes across multiple points in her career, and though the production on this has been roundly critiqued as a Billie Eilish knockoff, I think it has Taylor's spin on it in a way that makes the song worth listening to in the context of the rest of her revenge discography. (insert an idea for a playlist composed of Taylor Swift revenge songs) Bejeweled Unquestionably my favorite song to get ready with. Play this before any big event in your life and you'll feel like the belle of the ball no matter who you are or where you're going. That's right, when I walk in the room I can still make the whole place shimmer! This isn't strictly Midnights related but the Bejeweled music video has informed a decent amount of the aesthetic decisions I am making for some upcoming projects, which is fun. I also appreciate her commitment to hiding clues in these videos and making some of them quite obvious--we should definitely be watching for Speak Now (Taylor's Version) sometime in the next year I think. Labyrinth On my first listen, I thought this was going to be a sad song, but it's actually a soft tune about falling in love. The production is a bit more pop-sounding, but I almost envision it on folkevermore. The writing is rather simplistic so I don't have much by way of textual analysis, but the repetition serves to emphasize the feeling. To me, this song is more about the production and writing partnership between Swift and Antonoff. The scattered lines of the synthesizer add some punch and keep this feeling like a pop song even with the light and airy vocals. Also I want to point out that Taylor has been hinting at this project for SO LONG by quoting "Breathe in, breathe through, breathe deep, breathe out" in the 2022 NYU commencement speech she gave. Karma I think a lot of fans had a suspicion that this song was meant for Reputation, and while I know Taylor has said all of the music on Midnights was newly written, I can see the thematic consistency. “Ask me what I learned from all those years / ask me what I earned from all those tears” feels very direct--she's continuing to write about fame and the painful experiences she's had the last few years, but acknowledging that she uses it to succeed artistically. Sweet Nothing A cute song, softer than many of the others. I love the brass line in the middle of the song. I like that Midnights feels sonically cohesive even though between songs there are these wild tone shifts--it's still a pop album, but the conceptual links are stronger than the musical links which I think works in its favor since Taylor's music has shifted many times over her career and to limit her would be a disservice to the album. Mastermind I love Mastermind as a closing song, since it highlights the way Taylor obsesses over planning every detail of her life (incredibly relatable material). This can be read in multiple directions, either as relationship planning, business strategy planning, or scheming about her music. I think all three of these are tied up in each other so I've enjoyed seeing Taylor be so newly self-referential throughout the album and tie it together with this last song. The Great War If there is one song on Midnights that I want to find a book match for, it's this one. I love the extended metaphor (which I can also see in Long Story Short's "When I dropped my sword / Threw it in the bushes and knocked at your door") and how Taylor continues her theme of characterizing love as different experiences throughout the album--a heady rush on Lavender Haze, a private moment on Sweet Nothing, and now the result of a metaphorical emotional war. Bigger Than the Whole Sky So most of the songs on the 3am version I understand--this one, I had to spend more time with before seeing how it fit with the rest of the album. The writing is vague, and I interpret it to be either about endings (generalized relationships) or endings (death). Neither interpretation drastically changes how I see the role of the song, which is to balance out the upbeat songs with quieter ones which seem more inspired by folkevermore. I do see Midnights as a transition album, because Taylor's body of work is now in this genre-crossing context that a full shift back to dance pop would seem abrupt. Paris I said it very simply in my live tweet: "Taylor honestly has put her finger on exactly what I want with this one. I do want to be in Paris. I do want to be somewhere else." I also heavily relate to wanting to keep my relationships private and out of the public eye, just so I can have a sacred space to just pretend I'm living my ideal life. Her lines "Levitate above all the messes made / Sit quiet by my side in the shade" are exactly in line with the type of environment I cultivate. High Infidelity There's been a lot of speculation about this one since it's the closest Taylor has ever gotten to writing about cheating. We're all asking the same question: what happened on April 29th? To me, it's more interesting to analyze this song in the context of the themes of celebrity/fame/scrutiny that she's been weaving through this album while also including these details that make fans curious about her life. It's a very fine line to walk, especially when trying to avoid parasocial relationships. Then again, I shouldn't be surprised. Taylor has spent her whole career building personal connections with her fans, which has been very lucrative for her. Glitch This is a Paper Rings sequel to me--a little messier, a little more grown up, but just as desperate and happy. It’s cute! I like that even the bonus tracks feel sonically cohesive with the rest of the concept album. When the trailers for the music videos dropped, I thought Taylor was putting out her first visual album and honestly part of me wishes that's what she'd done with the project. Many of the tracks lend well to that adaptation. Would've, Could've, Should've We need to do something about John Mayer... that man has given this woman so much trauma that she is writing about it literally over a decade later. The devastating bridge on this song is just another one of those hallmarks of a Taylor song and the more I listen to this one, the more it hits for me. We need to start bringing the All Too Well energy to this song!! It is so deserved. Dear Reader Everyone ignores this song but I think that's bonkers because this song speaks so deeply to me--I love how Taylor has strung the concept of celebrity worship through this album and is telling her listeners that she's just a person (which has been ironically ignored, I've seen some wild things on the internet about her especially recently. If you're online please be wary of forming parasocial relationships with celebrities... they're not your friends, kids). At any rate, my favorite line from this one is "You should find another guiding light // but I shine so bright"
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To go home for Thanksgiving, I have approximately a seven hour drive. Not telling you where I live, but along the eastern seaboard I will be hit with hours worth of traffic, and irritating tolls, and many confused drivers unfamiliar with my area. And you know what? I don't have a problem with it at all. I am much more patient in traffic than most other people I know. I just roll down my windows to let in the fresh air, and crank up my music.
I am always listening to music when I'm driving, because my car is my safe space. I can enter into this near-meditative space when I drive where the only things that exist are me and the road. I make hours-long driving playlists (most of which are publicly accessible on my Spotify (@bookbaroness) composed of the songs I have on loop at the moment, the ones I love and want to sing at the top of my lungs with no one judging me. This year, I'm trying something new--I have this incredibly long drive to go home, and I solicited music recommendations from my friends to include in a playlist along with a selection of albums which I hadn't yet had the chance to hear in full, in order. I am not so good at taking recommendations, there is a whole separate post in here somewhere about that, but I have relaxed my policy a little to take in some new music. Here are the albums I listened to on the first segment of my drive:
I have eclectic taste, ranging from country to folk to pop, but there are a few artists whose music I come back to time and again because it's so significant to me. One of those artists in Sara Bareilles, and I can't believe it took me this long to listen to her new album. This was the highlight of my experience and I love the new direction her songs have taken. The album is less singer-songwriter than her previous work, and the production is smooth but subtle. I love her earlier albums for their coffee-shop-pop feel, and her powerful voice (which happens to be reasonably close to my own range, great for singing in the car or in the shower), and Amidst the Chaos elevates everything to a new level. I can't even pick a favorite song, they are all so good! Consider this my plug for this album. My other stand-out experience is Miranda Lambert's Palomino. I've been listening to Lambert for as long as I can remember, I discovered her music on the "pop country" radio I loved on Apple Music (back when it was free) and kept up with her releases until relatively recently. A busy life has left me with little time to track down new releases from my favorite artists, but I caught up with Palomino and found it full of delightful songs. She co-writes with Natalie Hemby, one of my favorite songwriters currently in the country music space, and Palomino is full of tracks about different characters and lifestyles, an ode to the wanderers and free spirited among us. In other words, perfect for a drive. Here my favorite tracks are Actin' Up, Geraldene, and Waxahachie. I'll hopefully be able to share another post after I've listened to the other two-thirds of my playlist, so I won't tell you what the other albums on it are. Feel free to suggest any in the comments that you think deserve a listen, and I'll do my best to add them all!
A full month and a half after I promised this, I'm finally reviving Cover Love. I couldn't really decide on a new format so things may change, but I wanted to share some of my favorite September covers with you. I also haven't completely finished my logo suite redesign so these posts won't have headers, I just wanted to get them out in the world. October coming out Monday!
Power is much easier to acquire than it is to hold onto. Jude learned this lesson when she released her control over the wicked king, Cardan, in exchange for immeasurable power.
Now as the exiled mortal Queen of Faerie, Jude is powerless and left reeling from Cardan’s betrayal. She bides her time determined to reclaim everything he took from her. Opportunity arrives in the form of her deceptive twin sister, Taryn, whose mortal life is in peril. Jude must risk venturing back into the treacherous Faerie Court, and confront her lingering feelings for Cardan, if she wishes to save her sister. But Elfhame is not as she left it. War is brewing. As Jude slips deep within enemy lines she becomes ensnared in the conflict’s bloody politics. And, when a dormant yet powerful curse is unleashed, panic spreads throughout the land, forcing her to choose between her ambition and her humanity… From the #1 New York Times bestselling author Holly Black, comes the highly anticipated and jaw-dropping finale to The Folk of the Air trilogy. Warning: This review may contain spoilers for previous books in the series, as I am reviewing the third novel of a trilogy. If you haven't read The Cruel Prince or The Wicked King, be aware! I have this awful habit of reading a series piecewise, leaving months or years between novels if I forget to pick them up after release or if I have other books on my TBR at the moment. Sometimes I take on a reread of the whole series when a new book comes out, because I don't want to forget any crucial information heading into the newest installment. However. I don't think I could ever forget the cliffhanger at the end of The Wicked King. I'd thought about picking up The Queen of Nothing occasionally, but never had the drive to actually grab it off the shelf until I was in the library one day, bored, and noticed it in our new & popular section. I had a few hours to kill and thought I could get partway through, but I absolutely did not expect to be so gripped that I set aside my responsibilities and finished the book in a single day. I should have known. Holly Black's novels are often compelling and entertaining in the perfect way for me to while away an afternoon reading, which is exactly what I did. The political and emotional beats of The Queen of Nothing are the most interesting to me. Jude is cunning and manipulative, but those traits are shared by many other characters as well, so I enjoy the dramatic irony of being occasionally aware of her plots being foiled. Holly Black does a great job of representing the non-human characters and giving Faerie a unique, mildly terrifying aura. I don't think I'd ever go for a visit, but watching Jude interact with this world as a human is one of my favorite parts. Her complicated childhood and ties to the land are relevant but there is also a subconscious theme to the novel of "belonging/not belonging" which is relatable to anyone who is stepping into a new environment. Of course, I could not go without mentioning the terrible love between Jude and Cardan, which has to be one of my favorite enemies-to-lovers romance stories in the game. I will refrain from sharing how their story ends, but it left me screaming the whole way through. Holly Black is not an especially ruthless writer, which is noticeable if you have read any of her past work, but there were parts of this novel where I could not predict what would happen next and I was genuinely afraid for my favorite characters. I think this is one of her strengths, because in each novel there's always a twist that I never see coming but I love the surprise, even if it spells certain disaster. Based on emotional impact, I would say The Queen of Nothing is one of my favorite novels of 2022, and I'm glad I finally picked it up. I recommend this series to anyone looking for a fantasy world to get invested in, and characters that will absolutely break your heart. 5*/5. New content!!! Yes, I'm an active reader, but I also enjoy watching films. I usually refrain from critical commentary (aside from some mini Letterboxd reviews), but earlier this week I watched Bodies Bodies Bodies, the new A24 film, and I had so many thoughts that I just had to get them out here. Cheers to me turning this book blog into a lifestyle blog instead. Don't worry, upcoming content is decidedly bookish in nature: I recently announced I will be revamping my retired Cover Love feature with a new post for the month of September. First, a brief summary: the film is a horror movie centered around a group of wealthy Gen Z young adults, all of whom are staying at one of their houses for a weekend, during a hurricane. This creates a locked-room mystery when characters start dying. From A24: "When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong." There is an immediate insider/outsider divide established in the group, as most of them are friends but two of the friends (Sophie--Amandla Stenberg--and Alice--Rachel Sennott) have brought significant others who have never met the group before. These are essentially strangers, and they help add a layer of distrust and confusion when things start to go wrong. Reputation and trust play a huge part in the film, as characters use their prior bonds to justify each others' potential innocence and guilt. As a graduate of a New England prep school (I own this and all the ridiculousness that goes into it), I was most disturbed at the end of the movie by the concept that all of the characters in this film could be credibly replaced by an amalgamation of people I knew in high school. Sure, Bodies Bodies Bodies is a horror film, but it's also a black comedy with moments where characters act with such social and political ineptitude that most audiences would be jarred out of the film experience by thinking "surely nobody would let /that/ come out of their mouth unchecked." Prime examples include (paraphrasing) "Of course he's a good person, he's a libra moon," "'Your parents are upper middle class... they're professors.' 'no they're not... they teach at a *public* university,'" "David’s dad can be a dick but his politics check out," and my favorite: "Don’t call her a psychopath. It’s so ableist." Surely, you think, as you sit in the theater, no one would just... say these things out loud... AND YET. AND YET they do, every day. I promise. The script is heavy handed intentionally, and I approve. Lessening any of the drama and righteousness attributed to each of these characters would do the film a disservice in its pursuit of irony. I would argue that despite being advertised as a horror film, and though it comes with a fair amount of blood, Bodies Bodies Bodies is more interesting as a power struggle drama while audiences track shifting relationships and watching characters fall in and out of favor with each other. Exactly like high school. Director Halina Reijn sticks true to the film's title by including a lot of group imagery--swimming, dancing, close gatherings during partying and arguments. This made sense to me, as the tension of this particular mystery was based on group dynamics rather than isolation-based fear. The more these characters had to be around each other, the more opportunities they had to needle each other and push long-standing buttons. Bodies Bodies Bodies is a critique of social media culture--contrasting a world where social justice buzzwords like "gaslighting" "toxic" and "ally" are thrown around with the same rooms where characters are actually being brutally murdered. It investigates superficiality, where rich young people reveal their venomous sides from the start, and only get worse. The script lets all of these ideas through even while it works overtime ensuring that none of the characters are portrayed solely as villains. They have intense inner lives and conflicts, which we see play out for everyone in group and solo shots. The friends aren't caricatures, they're real people to audiences with interesting problems and relationships. The group casting is standout, and they were all effective in their given roles, but I feel that Rachel Sennott as Alice was the standout performer. I've seen her work before (Shiva Baby) and immediately marked her as a star to watch. This film proves that she is diversifying her portfolio and can succeed in a variety of castings. Alice is, in short, every girl from my high school rolled into one. Fun, vacuous, deeply concerned with appearing socially conscious, terminally online. Bodies Bodies Bodies lets Sennott unleash her impeccable comedic timing, and I can't wait to see what she does next. Overall I'm giving Bodies Bodies Bodies a 4/5 star rating. This is the first film I've seen that I think effectively critiques Gen Z internet culture in a meaningful way. I think satire can engage with these issues while being funny and insightful in a way that we desperately need if we are going to examine our relationships with online visibility and how it permeates our personal relationships. Longtime readers may remember a monthly feature I've hosted in the past, where I shared some upcoming releases that had gorgeous covers. I discontinued the series in March 2021 because it was just... a lot to keep up with, and (full disclosure) the web service I use doesn't make it very easy to format these posts. However, I've missed browsing covers and peeking at upcoming publications, so join me in welcoming back this much-loved feature. You can expect to see the September post in a few days, under a new format!
Once upon a time, the kingdoms of Wales were rife with magic and conflict, and eighteen-year-old Mererid “Mer” is well-acquainted with both. She is the last living water diviner and has spent years running from the prince who bound her into his service. Under the prince’s orders, she located the wells of his enemies, and he poisoned them without her knowledge, causing hundreds of deaths. After discovering what he had done, Mer went to great lengths to disappear from his reach. Then Mer’s old handler returns with a proposition: use her powers to bring down the very prince that abused them both.
The best way to do that is to destroy the magical well that keeps the prince’s lands safe. With a motley crew of allies, including a fae-cursed young man, the lady of thieves, and a corgi that may or may not be a spy, Mer may finally be able to steal precious freedom and peace for herself. After all, a person with a knife is one thing… but a person with a cause can topple kingdoms. The Drowned Woods is steeped in Welsh folklore and magic, and it's an absolute joy to read. I blew through this novel in a day, and found it unputdownable. The novel is standard length for a YA fantasy, but feels much shorter due to the fast pacing. I found this quite agreeable, and thought that the character development fit well within the heist framework. To me, The Drowned Woods is not a typical story of heroism--everyone in the book exists within a moral grey area, which makes their actions and relationships with one another particularly interesting. Mer and her former spymaster have a familial relationship that is, at its foundation, built on her kidnapping for example. Therefore the dynamics of the heist are more nuanced than a "hero saves the day" story. Mer ponders past actions, forgiveness both for herself and others, and how to right wrongs as she works to undermine the prince. My copy of this book arrived out of the blue, exactly at the moment I needed it. A big heist story with a large cast of characters, each of whom has a unique reason to be there and a different skill to bring to the quest, appealed to me as I am also about to rejoin a group of friends and fit among others in a new way. My favorite character was Mer. This is typical for me, as I am fond of the characters who are prioritized in the narration and who get the most extensive background. I found her introspection a welcome break from the action-packed chapters, and her backstory felt well-fleshed out. I wish some of the other characters had gotten similar treatment, but with six main characters it would be difficult to allot page time to everyone, I understand. (Here is where I'll insert my lobbying for a Renfrew sequel/prequel, if the publishing gods so please!!) I loved the experience of reading The Drowned Woods, and found it an enjoyable read for my afternoon. It was so pleasing to be lost in this world of magic and Welsh fantasy. 5/5 stars. Isaac Fitzgerald has lived many lives. He's been an altar boy, a bartender, a fat kid, a smuggler, a biker, a prince of New England. But before all that, he was a bomb that exploded his parents' lives-or so he was told. In Dirtbag, Massachusetts, Fitzgerald, with warmth and humor, recounts his ongoing search for forgiveness, a more far-reaching vision of masculinity, and a more expansive definition of family and self.
Fitzgerald's memoir-in-essays begins with a childhood that moves at breakneck speed from safety to violence, recounting an extraordinary pilgrimage through trauma to self-understanding and, ultimately, acceptance. From growing up in a Boston homeless shelter to bartending in San Francisco, from smuggling medical supplies into Burma to his lifelong struggle to make peace with his body, Fitzgerald strives to take control of his own story: one that aims to put aside anger, isolation, and entitlement to embrace the idea that one can be generous to oneself by being generous to others. Gritty and clear-eyed, loud-hearted and beautiful, Dirtbag, Massachusetts is a rollicking book that might also be a lifeline. I have been getting into memoirs and essays lately. I think because they're easy to read, the prose is often compelling, and stopping after one or two chapters feels like I've reached a natural end point to a story. There are no surprise cliffhangers (typically) in a book of essays. The other thing about me, is that I LOVE Massachusetts. I've lived here forever, and I'd read any book set in my area. I get such a kick out of recognizing landmarks and experiences pertaining to my home state. So of course when I heard about Dirtbag, Massachusetts, I had to pick up a copy. Fitzgerald absolutely delivers on the promise of grounded, heartfelt stories that convey his childhood and early adult life in an interesting and compassionate way. His varied and wild life experiences tie together to create a self-narrative that still feels cohesive, and he's clearly a gifted writer. Our experiences of the state are vastly different, due to the fact that I am both younger than him and that we grew up in wildly different regions. (Side note: yes, even this tiny state has remarkable regional differences, and we can and do make assumptions about people based on what part of MA they're from). I enjoyed reading about Fitzgerald's experience in MA, which due to his family history has both positive and negative aspects which he analyzes with a critical eye. It's good for me to continue reading other authors on the subject and develop a rounded perspective on how others view my state. I tend to take a rose-colored view, I admit. I don't know if I could name a favorite chapter specifically, but one that struck me was when he discussed serving as a volunteer with an illegal medical aid network in Burma. He understood why he volunteered and discussed aspects of traversing cultural boundaries in an attempt to help people, but acknowledged a lens in which his journey of self-discovery was also a savior narrative since he was not a trained professional in the field. The nuance and consideration FItzgerald is able to bring to his own life experiences, rather than glamorizing them for print, is remarkable. This collection of stories is a hot buy for the summer, and I agree. I will definitely be recommending this one for years to come. 5/5 stars. |
The BaronessHey, I'm Shreya! I love to read, write, travel, and drink tea. Disclosure: I am an affiliate of bookshop.org and I will earn a small commission if you click the above link and make a purchase.
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