Music Monday: Touch the Earth by Julian Lennon

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Getting an email to review a book by Julian Lennon is definitely the coolest thing that has ever happened to me. Plus, it’s designed with Earth Day in mind, one of my fave holidays (def not biased 😉 ) so now’s the perfect time to share this book with you all, especially since I can tie it into Music Monday!

It is a children’s book but who said those were just for children? 😛
Read my review below, and for more info on Music Monday posts and how you can participate, click here (also in the menu bar above)

Touch the Earth by Julian Lennon with Bart Davis
Illustrated by Smiljana Coh
Genre: Children’s Book

Jump aboard the White Feather Flier, a magical plane that can go wherever you want. Just press a button printed on the page, and point the plane up in the air to fly, or down to land it.

The Flier’s mission is to transport readers around the world, to engage them in helping to save the environment, and to teach one and all to love our planet.

Fly to the top of a mountain. Send clean water to thirsty people. Dive deep into the ocean (the Flier turns into a submarine!) to pick up pollution and bring back the fish.

Explore the planet, meet new people, and help make the world a better place.
An inspiring, lyrical story, rooted in Lennon’s life and work, with beautiful illustrations that bring the faraway world closer to young children.

The book includes words to a special poem written by Julian Lennon, specifically for Touch the Earth.

Touch The Earth is the first book in a planned trilogy. A portion of the proceeds from books sales will go to support the environmental and humanitarian efforts of the White Feather Foundation.

Get it here: Amazon | Barnes & Noble | Indiebound

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Or Best Offer by Beck Medina

Hello lovely readers! Some big things are coming up in the coming weeks so I wanted to give you all some updates (and apologies for not posting more often this week!).

Tomorrow I’ll be celebrating my birthday and maybe more importantly, the 29th will mark my 1-year blogiversary! I’ll have a special post that day so stay tuned! It’s also the same day as Dewey’s Readathon, which I’ll be participating in. If you are too, you can follow my updates on Twitter and be sure to let me know where you’ll be posting!

I wanted to leave you off this week with a short story review. I really enjoyed Beck Medina’s last book, A Fantastic Mess of Everything, so I was thrilled when she reached out for a review of her latest! As always, all opinions are my own 🙂

Also, I deliberately chose today to post this review because the major event in the story takes place on the same day. Plus it works really well for today’s #JABBR Instagram prompt: female authors. You can check out my feed here! I’m having a lot of fun getting into the bookstagram community (and getting much better at taking bookish pictures :P)

Read on for my review and see you back here Monday for another #MusicMonday!

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Guest Post: Sam Ball

Today’s guest post comes from Sam Ball, author of A Lady Of Sorrows. He’s sharing the theory he has developed for his writing, and it certainly sounds unique! Check it out below, plus more about his latest release!


Manipulating the Reader’s Memory and Perception of Time: A Theory

by Sam Ball

Ernest Hemingway used concise sentencing and stretched a word’s meaning to its breaking point. This created tension and immediacy in stories that may otherwise have seemed dull and meaningless. James Joyce pushed description to its limits with his epic Ulysses, a 265,000-word monstrosity that takes place over the course of a single day in the life of an ordinary man. Had Hemingway written Ulysses, there would likely be no exploring on a parapet, and we’d have only met Stephen Dedalus at the end, if at all. Five sentences would shrink to one, and Homer would exist between the lines, though the meaning would still exist. Had Joyce written Old Man And The Sea, seconds would tick by like hours, and you’d be driven mad by your suffering, suffocating on a putrid, viscous air from rotting marlin carcass.

I’ve extracted a theory of broader impact from a pairing of ideas in the seeming disparate styles of these two iconoclasts. By parsing words’ meanings, using rhythm, and, rather than avoiding lengthy phrases and sentence structure but employing them deliberately, you can add depth and weight, and give wholly different experiences – sometimes different stories altogether – to a reader, depending on their state of mind. Your story can grow and change, expand or contrast, without ever trading a word, on an empirical level. Unlike film, for instance, the written word isn’t bound by frames that go stagnant over time. Words, like the mind, are fluid. Books are interactive. They construct memories. In two parts, a theory I’ve developed, which I’ve put into practice in my debut novel, “A Lady Of Sorrows,” posits that, by writing with cadence and  structuring a prose in deliberate, multisyllabic peaks and monosyllabic valleys, a writer has the ability to force a reader’s recollection of events in a story and compose the passage of time.

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