thissillygirlthought commented on a post from the Pagebound Club forum
sigh So, I normally would love that I book had read or going to read was turned into or going to turn into a movie or TV show. However...I don't think I can say the same for dark romances. Last year, I found out that Blackbird and Butcher by Brynne Weaver is turning into a movie. Which made me nervous since there are scenes in the book that I would hate that they water down for general audiences but at the same time, I'm not sure if they would work for general audiences. Especially, since movies and TV shows are allowed a certain amount of stuff to keep that rated R (or TVMA rating for TV shows). Despite the nerves, I'm excited for the movie.
Until today, when I learned that Haunting Adeline and it's sequel are being turned into movies...and I hate it. The way that society is regarding purity culture and bad faith individuals, no way that they can do this book justice without either watering down or being a total nightmare of debates and other horrible takes. Ugh, I feel bad since I know how much work and heart Brynne Weaver and H.D. Carlton put in these books and would love to see them come to life but I don't think we are at the right time for them.
I just hope like hell that both of these projects don't turn the internet into a hell (more so than usual)
thissillygirlthought commented on a post from the Pagebound Club forum
So as says on the tin lid, where do you draw the line on historical accuracy.
Potential spoilers to anyone saving the Odyssey as there current read or future read
I rarely engage in book discussion outside of here and my irl book club, however, I found myself making a rare comment under a post of The Odyssey (film coming out). The creator was making a point about the women of the odyssey, how Odysseus (and Telamacus) at the end treats the female slaves callously (to put it mildly) at the end but is removed (iykyk). This is a a point explored in Emily Wilson’s translation, to question the “heroics” of a male pov - which I believe Christopher Nolan used as a reference point but seems to have failed to deliver on. (Will disclaim I haven’t seen as of yet)
I commented referencing the book Sweetbitter Song by Rosie Hewlett (part of the Queer All Year Quest, a sapphic Ithica retelling) and how, for me, my main take away from this book was the hidden histories outside of the grand male figures we have been told. Sweetbitter song does a fantastic job at suggesting that all these big moments for the men were in fact created (or set intentionally in motion) by the characters that were actually on the side or even on the fringes of the original tale. I didn’t necessarily comment on the content of the book it self just that it got me thinking of hidden histories.
Queue another tiktok user instantly slating the fact I’d read it and how they, having also read it (hmm 😒), thought it terrible and glorifying the relationship of a slave girl and a senior woman of power. How Melantho (the girl) was aged up to make it work.
Now whilst I understand the toxic nature the user is implying, I also think that kind of complaint comes from a modern lens and lacks the nuance. I think when shut down like this, conversations about the topics in such books as Sweetbitter Song are often held to a higher standard of “not being factually correct” despite it being based on myth as well?
There are an abundance of other things wrong with the book if you start picking apart the actual historical accuracy. I would argue it applies to most historical fiction.
So I’ve returned to the Boundlings - I would argue a good historical fiction is where you forget about the facts and the author has known where to add detail saccurate of the time (and story if a retelling). But then also know where to fluff/skew dependant on their POV without compromising the original source material.
Where do you stand on historical facts on historical fiction? Does it throw you out if not mostly correct? Can you separate a topic you obsess over (like me and Greek myths) and the fictional work you’re reading for the sake of the plot?
Edit: aware history and myths are different - the other user on TikTok was trying to my to argue the historical accuracy of the supposed myth, which for me are separate and myths (for me) especially have more wiggle room in retellings but I was curious as to others thoughts.
Also thankyou ve try much to everyone’s response, its really nice to see people responding with really thought out responses - the consensus being do your research 😄
thissillygirlthought commented on thissillygirlthought's update
thissillygirlthought DNF'd a book

The Ballad of Perilous Graves
Alex Jennings
thissillygirlthought DNF'd a book

The Ballad of Perilous Graves
Alex Jennings
Post from the Pagebound Club forum
So as says on the tin lid, where do you draw the line on historical accuracy.
Potential spoilers to anyone saving the Odyssey as there current read or future read
I rarely engage in book discussion outside of here and my irl book club, however, I found myself making a rare comment under a post of The Odyssey (film coming out). The creator was making a point about the women of the odyssey, how Odysseus (and Telamacus) at the end treats the female slaves callously (to put it mildly) at the end but is removed (iykyk). This is a a point explored in Emily Wilson’s translation, to question the “heroics” of a male pov - which I believe Christopher Nolan used as a reference point but seems to have failed to deliver on. (Will disclaim I haven’t seen as of yet)
I commented referencing the book Sweetbitter Song by Rosie Hewlett (part of the Queer All Year Quest, a sapphic Ithica retelling) and how, for me, my main take away from this book was the hidden histories outside of the grand male figures we have been told. Sweetbitter song does a fantastic job at suggesting that all these big moments for the men were in fact created (or set intentionally in motion) by the characters that were actually on the side or even on the fringes of the original tale. I didn’t necessarily comment on the content of the book it self just that it got me thinking of hidden histories.
Queue another tiktok user instantly slating the fact I’d read it and how they, having also read it (hmm 😒), thought it terrible and glorifying the relationship of a slave girl and a senior woman of power. How Melantho (the girl) was aged up to make it work.
Now whilst I understand the toxic nature the user is implying, I also think that kind of complaint comes from a modern lens and lacks the nuance. I think when shut down like this, conversations about the topics in such books as Sweetbitter Song are often held to a higher standard of “not being factually correct” despite it being based on myth as well?
There are an abundance of other things wrong with the book if you start picking apart the actual historical accuracy. I would argue it applies to most historical fiction.
So I’ve returned to the Boundlings - I would argue a good historical fiction is where you forget about the facts and the author has known where to add detail saccurate of the time (and story if a retelling). But then also know where to fluff/skew dependant on their POV without compromising the original source material.
Where do you stand on historical facts on historical fiction? Does it throw you out if not mostly correct? Can you separate a topic you obsess over (like me and Greek myths) and the fictional work you’re reading for the sake of the plot?
Edit: aware history and myths are different - the other user on TikTok was trying to my to argue the historical accuracy of the supposed myth, which for me are separate and myths (for me) especially have more wiggle room in retellings but I was curious as to others thoughts.
Also thankyou ve try much to everyone’s response, its really nice to see people responding with really thought out responses - the consensus being do your research 😄
thissillygirlthought commented on a post
thissillygirlthought commented on thissillygirlthought's update
thissillygirlthought commented on thissillygirlthought's update
thissillygirlthought finished a book

Long After We Are Gone
Terah Shelton Harris
thissillygirlthought started reading...

Long After We Are Gone
Terah Shelton Harris
thissillygirlthought finished a book

Bury Our Bones in the Midnight Soil
Victoria Schwab
thissillygirlthought finished a book

The Most Unusual Haunting of Edgar Lovejoy
Roan Parrish
Post from the Sweetbitter Song forum
thissillygirlthought finished a book

Sweetbitter Song
Rosie Hewlett
thissillygirlthought joined a quest
One and Done Fantasy ⚔️🐉🧝♀️
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This Quest was inspired by the List "One and Done Fantasy" by hannah, winner of Q2 2026 community voting.
thissillygirlthought wrote a review...
This book has so much movement
Movement that could only be pulled off by the writing style of a stream of consciousness. I always find slightly jarring when going in blind and you realise a conversation is being held.
However, the movement is what makes this book. The chapters provide just enough structure so you are consumed by the reams of thought that jump about the place (until they come back to Iris).
There’s a lot to be said to way it captures dating, the different loves we can feel, how differently they impact us in the moment and then how our retrospective mind looks on them as time passes. The tension between not fitting in the heteronormative structures whilst still wanting the mongmous affections.
Michelle felt like she endlessly chasing this impossible woman, someone dangerous and exciting that will love her and only her. Yet those that raised her pulse for adrenaline couldn’t or wouldn’t reciprocate. Yet, she almost flippantly skates over through a few sentences of women that she knew had the potential to love her the way she probably needed.
I loved the take away that there was no fear of being gay. Michelle is so immersed in her own queee world that anything out of that was made out to be boring almost always. There’s a fearlessness that you can tell this was written on the brink end of the millennium. There’s something to the lack of smart phones and technology that forces everyone to be out and moving , take “riskier” moves because how else would you? In that senses as annoying as sometimes her voice was I didn’t feel any shame, just longing and chaos.