Review: Beloved by Toni Morrison

A square crop of one of the various front cover designs of Beloved by Toni Morrison.
Beloved has had a fair few cover designs over the years since its release, this is one of the newer ones.

There is a loneliness that can be rocked. Arms crossed, knees drawn up; holding, holding on, this motion, unlike a ship’s, smooths and contains the rocker. It’s an inside kind – wrapped tight like skin. Then there is a loneliness that roams. No rocking can hold it down. It is alive, on its own. A dry and spreading thing that makes the sound of one’s own feet going seem to come from a far-off place.

page 315
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Review: The AI Con by Emily M. Bender & Alex Hanna

A square crop of the front cover of The AI Con by Emily M. Bender and Alex Hanna.
I rather like the front cover design of The AI Con.

[..] language is so central to our understanding of each other that when we encounter language that doesn’t actually reflect the thoughts, ideas, or communicative intent of another person, it’s difficult not to imagine some humanlike mind behind it.

page 7, Chapter 1: An Introduction to AI Hype, The AI Con by Emily M. Bender & Alex Hanna
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Review: We Could Be So Good by Cat Sebastian

A square crop of the front cover of We Could Be So Good by Cat Sebastian.
It is bothering me a little bit that I couldn’t do the square crop of the front cover We Could Be So Good to show the entirety of the “W” but it’s all…good.

He braces his hands on the edges of the sink and looks at his reflection, surprised to see that he looks normal, almost calm. He feels as if he’s been turned inside out, as if he just learned that a part of his heart is on the outside of his body, in the possession of somebody else entirely.

page 97, Andy
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Review: The Fire Next Time by James Baldwin

A square crop of the front cover of The Fire Next Time by James Baldwin.
Since The Fire Next Time was published there has a few different front cover designs, this was the one for the ebook edition I read.

The paradox–and a fearful paradox it is–is that the American Negro can have no future anywhere, on any continent, as long as he is unwilling to accept his past. To accept one’s past–one’s history–is not the same thing as drowning in it; it is learning how how to use it. An invented past can never be used; it cracks and crumbles under the pressures of life like clay in a season of drought. How can the American Negro’s past be used? The unprecedented price demanded–and at this embattled hour of the world’s history–is the transcendence of the realities of color, of nations, and of altars.

My Dungeon Shook
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