More on that in the content section of my review. It’s very explicit and takes up several pages of the story. I didn’t expect the amount of sexual content in Song of Blood and Stone. Jasminda is a strong woman who is desperately trying to balance independence with pragmatism, and she appealed to me very much as well. You know me-totally a sucker for a good guy who has to make hard choices and is willing to give up everything to do the right thing. I liked both Jasminda and Jack’s characters. It also reminded me a little bit of Children of Blood and Bone in the way race and racial tension are featured.
The storytelling reminded me a little bit of The Blue Sword, in the way military and magic play interesting roles in the story. I liked that it had a sort of turn-of-the-century feel to it-with cars and telephones-but also felt very much like a world different than ours with its harsh landscape, magic elements and legends. Song of Blood and Stone has a lot of interesting elements woven together as far as its story world. The fates of two nations hang in the balance as Jasminda and Jack must choose between love and duty to fulfill their destinies and end the war. As an ancient evil gains power, Jasminda races to unlock a mystery that promises salvation. Thrust into a hostile society, Jasminda and Jack must rely on one another even as secrets jeopardize their bond. They escape their ruthless captors and together they embark on a perilous journey to save Elsira and to uncover the secrets of The Queen Who Sleeps. Now he must do whatever it takes to save Elsira and it’s people from the True Father and he needs Jasminda’s Earthsong to do it. Jack’s mission behind enemy lines to prove that the Mantle between Elsira and Lagamiri is about to fall nearly cost him his life, but he is saved by the healing Song of a mysterious young woman. When ruthless soldiers seek refuge in her isolated cabin, they bring with them a captive–an injured spy who threatens to steal her heart. Jasminda herself is an outcast in her homeland of Elsira, where her gift of Earthsong is feared. Orphaned and alone, Jasminda lives in a land where cold whispers of invasion and war linger on the wind.
The whole enterprise seems like it was cobbled together to make a statement, yet it never coheres around a couplet as accurate as West’s verse on “ So Appalled”: “Niggas is going through real shit, man, they out of work/That’s why another goddamn dance track gotta hurt.” A dance track would be preferable to whatever this is.Published on Amazon | Barnes & Noble | Goodreads Black life is reduced to digital death and instant commodification. Over a woozy, clippy production, West talks about mass incarceration, slavery, and genocide: “Genocide what it does/Slavery what it does/Rain down on us/Whole life sellin’ drugs.” Together, Kanye and Travis Scott ask for the Holy Spirit to come down, and, you guessed it, “wash us in the blood.” Now, the already overloaded song becomes parodic they surely can’t be proposing that the prayers of these two musicians would provide balm in this time of uprising? More risible is the video directed by cinematographer and artist Arthur Jafa clips of Breonna Taylor and Ahmaud Arbery emphasize the vitality of lives that were cut short, yet by freezing them in time next to Grand Theft Auto footage and sundry fight clips and viral videos, the actual effect is to deny the sacred inherent in the very lives the song seeks to praise. “Wash Us in the Blood,” a single from his forthcoming album God’s Country, feels more like a tossed-off sketch than a meticulous portrait.
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