Hey everyone! I love it when I receive new book recommendations (it also gives me an excuse to buy more books, right?!), so I paired up with Hannah from A Cup Of Wonderland, where we each chose 5 books we wanted to get round to reading, and then 5 reads we think the other should read! Here it goes!!
Here are my top 5 books I’m hoping to get round to reading in February!
“Turning thirty is like playing musical chairs. The music stops, and everyone just marries whoever they happen to be sitting on.’
Who the f*ck is Tori Bailey?
There’s no doubt that Tori is winning the game of life. A straight-talking, bestselling author, she’s inspired millions of women around the world with her self-help memoir. And she has the perfect relationship to boot.
But Tori Bailey has been living a lie.
Her long-term boyfriend won’t even talk about marriage, but everyone around her is getting engaged and having babies. And when her best friend Dee – her plus one, the only person who understands the madness – falls in love, suddenly Tori’s in terrifying danger of being left behind.
When the world tells you to be one thing and turning thirty brings with it a loud ticking clock, it takes courage to walk your own path.
It’s time for Tori to practice what she’s preached, but the question is: is she brave enough?
The debut adult novel by bestselling author Holly Bourne is a blisteringly funny, honest and moving exploration of love, friendship and navigating the emotional rollercoaster of your thirties.”
“How does it feel to be constantly regarded as a potential threat, strip-searched at every airport?
Or be told that, as an actress, the part you’re most fitted to play is ‘wife of a terrorist’? How does it feel to have words from your native language misused, misappropriated and used aggressively towards you? How does it feel to hear a child of colour say in a classroom that stories can only be about white people? How does it feel to go ‘home’ to India when your home is really London? What is it like to feel you always have to be an ambassador for your race? How does it feel to always tick ‘Other’?
Bringing together 21 exciting black, Asian and minority ethnic voices emerging in Britain today, The Good Immigrant explores why immigrants come to the UK, why they stay and what it means to be ‘other’ in a country that doesn’t seem to want you, doesn’t truly accept you – however many generations you’ve been here – but still needs you for its diversity monitoring forms.
Inspired by discussion around why society appears to deem people of colour as bad immigrants – job stealers, benefit scroungers, undeserving refugees – until, by winning Olympic races or baking good cakes, or being conscientious doctors, they cross over and become good immigrants, editor Nikesh Shukla has compiled a collection of essays that are poignant, challenging, angry, humorous, heartbreaking, polemic, weary and – most importantly – real.”
““I’m not funny at all. What I am is brave.” —Lucille Ball
With powerhouses like Tina Fey, Amy Poehler, and Amy Schumer dominating the entertainment landscape and memoirs from today’s most vocal feminist comediennes shooting up the bestseller lists, women in comedy have never been more influential.
Marking this cultural shift, The Girl in the Show provides an in-depth exploration of how comedy and feminism have grown hand in hand to give women a stronger voice in the ongoing fight for equality. From I Love Lucy to SNL to today’s rising cable and web-series stars, Anna Fields’ entertaining retrospective combines amusing and honest personal narratives with the historical, political, and cultural contexts of the feminist movement.
With interview subjects like Abbi Jacobson, Molly Shannon, Mo Collins, and Lizz Winstead among others—as well as actresses, stand-up comics, writers, producers, and female comedy troupes—Fields shares true stories of wit and heroism from some of our most treasured (and under-represented) artists. At its heart, The Girl in the Show captures the urgency of our continued struggle towards equality, allowing the reader to both revel in—and rebel against—our collective ideas of “women’s comedy.”