Hey, Everyone,

Welcome to part one of our examination of "Thread the Needle" by Sleep Token from their first EP "One." This is part one of ??? because I don't want to overwhelm anyone. It can be a lot. And I'm chatty. Really chatty. The point of this series is to teach you how to analyze texts in a chunkable, digestable fashion. Songs are basically "mini" texts to practice on, but that doesn't mean they lack depths of meaning.

Haven't heard "Thread the Needle" before? Click this link to listen to the song before we dive in: "Thread the Needle" by Sleep Token

If you aren't familiar with the history of Sleep Token, their earliest interviews, and their history, consider checking out these two videos by Glen Joseph Robinson, a very passionate Sleep Token fan and vocal coach:

Sleep Token History Part 1 by Glen Joseph Robinson
Sleep Token History Part 2 by Glen Joseph Robinson

For my part in all of this lore building, I'm going to be looking specifically at the auditory nature of the song in addition to the lyrics themselves. While I know that all Sleep Token fans have their own theories and such, this is all just my interpretation and a way to teach analysis skills in real time by looking at something very manageable: a six minute and 22 second song (okay so it's a long song, but a lot of it is instrumentals! not a ton of lyrics... not really, anyway.)

That said? Let's go.

When the video for Sleep Token's "Thread the Needle" opens up, we are almost immediately treated to Vessel's lyrical voice. At this point in the band's history, Vessel was the only consistent member (back in the olden days of 2016). Vessel II, or just II, would not join until EP "Two".

LYRICS:

Bury me inside this
Labyrinth bed
We can feel that time is
Dilated

In addition to the song, we are also greeted with the visual of a candle flame. These are all things to keep in mind as we start analyzing.

So we have music, we have Vessel's voice, the image on the screen, and we have the words in front of us. Where to now?

Well one of the things I look for when I'm going to analyze a song is where are the points of emphasis. Where does the singer take a breath? Where does the volume go up? Where does the pitch change?

If we were to apply this to the first stanza or verse of "Thread the Needle" it might look something like this:

What does this mean by itself? Well, nothing yet. We're just noticing things. That's step one. What seems important here? What isn't important?

From listening to this first part of the first verse, two things jump out at me, likely at you, too, since we're looking at the same image. First: two words have exaggeration on the pronunciation, breaking the them down into their syllabic count (three syllables each). Second: each of those exaggerated words are preceded by an extended beat, almost like a breath.

Well, that seems like a good place to start to me. "Labyrinth" and "Dilated" are the two words that are seemingly emphasized.

From here, the question becomes, what do we know about either of these things? What's a labyrinth? What does dilated refer to?

Depending on who you are, how much reading you've done, what your cultural upbringing has been, etc... will determine how you answer these questions. For me, with an academic background, I play word association pretty quickly.

Labyrinth makes me think of the story of the minotaur and King Minos from Greek mythology— the inescapable "maze" that Theseus only manages to find his way out of with the aid of Ariadne's thread. Dilated, particularly when attached to the word time, means one of two things to me: either Einstein's theory of relativity or how time functions in narratives (time dilation versus time compression).

So, what does that matter when listening to a song? Potentially nothing, but when added back into context, we can consider some potential paths forward to either research or ruminate:

Bury me inside this,
Labyrinth bed.

So, the singer, Vessel as both character and vocalist, is asking for someone, some unseen presence, to bury him inside a bed that is likened to a labyrinth. Normally, when we think of beds, we think of comfort, of safety, of sleep (no, this is not a pun, I'm sure some will occur), of intimacy, of sex, of bodies. But this bed isn't all of those things: this is a burial plot, or what Vessel as a character wishes to be his burial plot.

At this point, I could go all Freudian and insist that this is the Eros and Thanatos drives at work, which maybe is an allusion worth exploring (Eros= life/sex drive; Thanatos= death drive, though it's a bit more complicated than that), or I could think: why is a labyrinth bed where Vessel, as a character in a musical theatre production, wants to be buried? What does my current knowledge about labyrinths lend to this discussion? What does the labyrinth have to do with death?

And honestly? I don't have much to add to this without using outside sources. I know the story of the labyrinth, and I know that labyrinths are meant to be "inescapable". That doesn't really contribute much to the conversation (though I would argue the idea of escape versus being trapped adds something, but where we're at right now doesn't say what it adds).

Want to see more? Make sure you subscribe to at least my free tier to see this content before I break it down for social media!

I Miss Having Multiple Hobbies

I am writting my Cover letter to attach with my resume, and you know, the part where you add your hobbies so your potential employer can get to know you a little better? I had a bit of a realisation as I was writing. I hardly have any hobbies anymore!

I know what you're thinking: 

“what the heck, you literally run a bookish page, reading IS a hobby!” 

And yes, you're completely right! Reading is a hobby, but if I'm being honest, reading has grown into something so much bigger than that. It's gone beyond hobby territory and become a part of my life, and in a way, my little non-payed side hustle. Ever since I started running my platforms, it has taken my reading hobby into a whole different meaning. That's not to say I don't enjoy it! I love my little bookish community so incredibly much and I wouldn't change a single thing!

But I think what I'm really talking about are hobbies that are more private. Things I do just for myself, that I don't actively talk about or dedicate a whole page to.

When I was younger I had so many! I loved crafting and building things with my hands, or baking cupcakes (I loved it,  mostly for the reward of eating them after). During COVID I was really dedicated to knitting, until I attempted a sweater, messed it up so badly I had to start over, and the joy just... died there, it became more of a task than a hobby…

One afternoon I found myself with nothing to do and, weirdly (extremely rare), had no desire to read. I couldn't think of a single thing I wanted to do. I got so restless and anxious that I ended up just scrolling on my phone, which did absolutely nothing for the anxiety.

What I actually wanted was to craft. To do something with my hands. There's something about physically making something that completely puts my mind at eas, the brain just switches off entirely.

So why did the hobbies go away?

The main reason is time. My days are pretty packed, I'm unemployed and constantly on the job hunt, on top of creating content for my platforms and keeping up with my other routines, reading ends up being the one hobby I actually prioritise to make time for. The other reason is that the hobbies I'd love to get back into all require buying materials and tools. Since I move around so much and don’t have the fortune to accumulate things, I tend to shy away from investing in a new passion. And honestly, the money I do have set aside for hobbies goes straight to my reading!

I Miss Scrapbooking!!

Back in my childhoodhome I have several scrapbook albums, and thinking about them sparked something in me that really wanted to try it again!

So that's exactly what I'm going to do! Im gonna find a way to scrapbook on a budget. Using whatever I can find for free: postcards from libraries, recycled paper, ribbons or Drawing! I'm even thinking of drawing little characters to go alongside my daily journaling. I'm not much of a drawer, but since it's just for me, that's perfectly fine.

I think that's really the point. Hobbies can be a path to reclaiming a sense of peace and calm, a space to fully shut out social media and the other stressful noise in my life, and focus on something that is just for me. A place to be creative without any outside pressure, and to nurture that playful part of myself. Because in a world that demands so much perfection, it's nice to just be allowed to be a little messy.

[ALL IMAGES FROM PINTREST]

I just saw a post on threads that got me so riled I had to come here to write about it. Meryl Wilsner posed a question: Queer folks, what’s something romance books and/or romance fans do that alienates you as a queer person? To which someone responded: Refusing to read M/F sapphic stories. And of course you know me, so I had to respond. I said: This is not a thing. The story can have a sapphic character but if both aren’t sapphic, it’s not a sapphic story. Words have meaning. And she respectfully disagreed.

You cannot disagree on facts. They aren't up for debate; words have definitions.

Words carry meaning. Language holds culture, history, and boundaries. When meaning dissolves, the people behind those words lose ground.

Sapphic describes women (and women-aligned/nonbinary people) who love women, et al. The word traces back to Sappho and the island of Lesbos, to poetry about women loving women, to centuries of writing, and to a community built by women who loved other women. The definition sits in plain language. Open a dictionary. The entry reads women loving women.

This idea that words shift to accommodate anyone who feels drawn to them ignores the purpose of language. Words describe reality. Words protect communities. Words create shared understanding. When every label stretches to include anyone who asks, the label stops describing anything at all.

Sapphic spaces exist because women et al., who love women, carved out room for themselves. They built culture, art, literature, relationships, and political organizing around their lives. Those spaces did not appear by accident. Women et al. created them because the wider world ignored, mocked, or punished them.

So when someone claims the word sapphic while identifying as a man, the anger bubbles over for a reason. The word centers women. A male identity contradicts the definition. This does not erase anyone’s identity. Many labels exist for different experiences. Language already holds terms for queer men, bisexual men, and other identities. The problem begins when male identity pushes into language created for women and demands recognition there.

And this problem shows up in books in a way that hits hard.

When authors within the community start calling M/F stories' sapphic,' the damage spreads fast. Readers rely on labels to find themselves on the page. A sapphic tag signals safety, recognition, shared experience. It tells a reader that the relationship centers women. When that label is applied to a story about a man, it breaks trust.

You search for yourself, only to be handed something else.

You expect to see women loving women and instead watch a man take up space in a narrative that was supposed to belong to women. That disconnect is not small. It erases visibility. It muddies representation. It pushes actual sapphic stories further into the background. This doesn’t mean that M/F stories aren’t queer, or that if the woman is bi/pan that she herself isn’t sapphic, it DOES mean that the story itself isn’t sapphic.

Publishing already sidelines sapphic authors. Algorithms bury them. Marketing budgets skip them. Shelf space shrinks for them. When M/F books start taking up the sapphic label, those limited slots get filled by stories that don’t even center sapphic relationships. That is displacement.

And it also rewrites what sapphic means in the public eye. New readers learn from what they see marketed. If M/F stories get labeled sapphic, then the definition shifts in practice, even if the dictionary stays the same. Over time, the word loses its anchor. The community loses a clear way to name itself.

That erosion carries real impact. Fewer accurate stories reach readers. Fewer authors get visibility. The culture that women built for themselves gets diluted until it barely resembles its origin.

And yes, anger fits here. Feminine rage grows from exhaustion, even from me, a nonbinary person. Women fight for scraps of space and language while the world asks them to step aside again, even inside their own communities.

Another question arises in the middle of this conversation. Why the desire to enter every label built for women? Why the insistence on standing inside every space women create? Why the expectation that women must widen every boundary? Because … men.

The truth is simple. Women deserve words that describe their lives. Women who love women deserve language rooted in their experience.

Men cannot be sapphic. M/F stories are not sapphic. Not because exclusion feels good. Because words hold meaning. Because language describes reality. Because readers deserve honesty. And because women deserve at least a few words in this world that belong to them.

Words carry meaning. Language holds culture, history, and boundaries. When meaning dissolves, the people behind those words lose ground.

Sapphic describes women (and women aligned/non-binary people) who love women (et al.). The word traces back to Sappho and the island of Lesbos, poetry about women loving women, centuries of writing and community built by women who loved other women. The definition sits in plain language. Open a dictionary. The entry reads relating to sexual attraction or activity between women. Has the definition of women expanded, yes, but NOT TO MEN

This idea that words shift to accommodate anyone who feels drawn to them ignores the purpose of language. Words describe reality. Words protect communities. Words create shared understanding. When every label stretches to include anyone who asks, the label stops describing anything at all.

Sapphic spaces exist because women who love women carved out room for themselves. They built culture, art, literature, relationships, and political organizing around their lives. Those spaces did not appear by accident. Women created them because the wider world ignored, mocked, or punished them.

So when someone claims the word sapphic while identifying as a man, or says that a male/female relationship can be sapphic, rage spews from me for a reason. The word centers women et al. A male identity contradicts the definition. This does not erase anyone’s identity. Many labels exist for different experiences. Language already holds terms for queer men, bisexual men, and other identities. The problem begins when male identity pushes into language created for women and demands recognition there.

Women et al. spend their lives pushed out of space. Workplaces, politics, art, history, medicine. Now even language built by women for women faces pressure to expand until the original meaning disappears. That pressure fuels a burning rage in so many of us, I know I'm not alone.

And yes, rage fits here. Feminine rage grows from exhaustion. Women fight for scraps of space and language while the world asks them to step aside again.

Another question arises in the middle of this conversation. Why do men, and some women who want to include men in the term sapphic, want to enter every label built for women? Why the insistence on standing inside every space women create? Why the expectation that women should widen every boundary? I'll tell you ... men.

Women deserve words that describe their lives. Women who love women deserve language rooted in their experience.

Men cannot be sapphic. Not because exclusion feels good. Because words hold meaning. Because language describes reality. Because the dictionary is free for anyone willing to open it. And because women deserve at least a few words in this world that belong to them.

I'd love to hear your thoughts on this.

Happy Tuesday, mis internet amigxs,

A quick introduction to the 1 Latine releases this week. Paid subscribers received all the remaining March Latine releases on my radar as well as an in-depth update on what's going on in the background with me including some future plans. It's never too late to become a paid subscriber and get Bien Leidos news first!

BIEN LEIDOS BOOK CLUB & DISCORD UPDATES

WE HAVE MODS! After a short application process, I have added 5 moderators to help me continue to make our Discord safe and fun space to talk books, life, hobbies, and more. Be on the lookout to improvements and changes to your Discord experience!

Already mentioned on Discord, but I wanted to give you a quick heads up to expect The Intrigue by Silvia Moreno-Garcia as our August book club pick. She mentioned this week on Threads that when she writes outside of horror/fantasy genres, her numbers aren't as strong. I've fallen off my SMG train a bit with everything going on in the world, so I wanted to remind you that The Intrigue releases July 14th. You can pre-order on Bookshop or LibroFM.

We will be voting on upcoming June and July picks, but here are upcoming book club selections so you can get your TBR in order.

FICTION

March: Now I Surrender by Alvaro Enrigue and translated by Natasha Wimmer (we will be chatting with Alvaro on Monday, April 6th in lieu of sprints at 8:00 PM--invite to register will go out soon)

April: The House of the Spirits by Isabel Allende

May: Asiri and the Amaru by Natalia Hernandez

June: TBD -- will be voting on Discord soon

July: TBD -- will be voting on Discord soon

August: The Intrigue by Silvia Moreno-Garcia

NONFICTION

March - April: Everyone Who Is Gone is Here by Jonathan Blitzer

May - June: Accordion Eulogies by Noe Alvarez

I'll do a formal post updating all our upcoming reads, but wanted you to have the latest list of upcoming reads.

And now on to this week's release!

ROMANTASY

Daughter of the Hunt by K. Arsenault Rivera (Audiobook) Retelling of Iphigenia and Artemis myth from Puerto Rican Romantasy author, Rivera. Second book in the Oath of Fire series.

xoxo,

Carmen

The Trans Rights Readathon starts today, and here is my TBR. Not pictured: Queen of Faces by Petra Lord and Awakened by A.E. Osworth. What will you be reading?

What's the craic, Fools?

In honor of St. Patrick's Day (my namesake, if you didn't happen to know), I've curated a list of some Hibernian reads. I hope however you choose to celebrate, you'll do so in good cheer with beloved kith and kin.

• Irish Fairy Tales and Folklore by W. B. Yeats — trade Zeus and Odin for banshees and leprechauns in these classic tellings of the Emerald Isle's mythology

• The Poems of Seamus Heaney by Seamus Heaney — poetry lovers are spoiled with choice when it comes to Irish bards, but Heaney stands among the very best, and a compilation like this is a great introduction to him

• Say Nothing by Patrick Radden Keefe — one of the greatest pieces of non-fiction writing we've seen this side of the millennium; I've never had anyone bounce off this incredible, challenging book about the Troubles

• Prophet Song by Paul Lynch — this Booker Prize winner is set in a near-future Ireland where an authoritarian government has risen to power and begun to curtail civil rights (let's call it 2026 escapism?)

• The Picture of Dorian Grey by Oscar Wilde — perhaps the wittiest book I've ever read, Wilde's classic morality tale remains evergreen, and if you've never indulged yourself, you simply must

Hello Friends!

SUPER EXCITING NEWS!

I've partnered with bookshop . org to get you all a shopping discount!

Shop my curated list of MUST READ INDIGENOUS books!

Take 15% OFF* these select titles when you enter BSO15 at checkout, valid until April 1, 2026. *Discount off list prices, and excludes Ebooks.

Every purchase on Bookshop.org supports local, independent bookstores. Happy reading!

Shop These Must Read Indigenous Books

Greetings Fools,

March has been a great reading month for me and I wanted to pass on the books I've enjoyed so far.

• Alchemised by SenLinYu. One of the top selling books of 2025, this dark romance / dark fantasy is a bleak adaption of Manacled, a sprawling Harry Potter fan fiction the author wrote several years ago. This book is not for everyone, but I really enjoyed the worldbuilding and subversion of some standard fantasy tropes.

• Heart the Lover by Lily King. I inhaled this book and loved the experience. Two chapters of a woman's live, and the men in them, are examined decades apart. You can read it in an afternoon. It's a moving meditation on growing up, getting hurt, and loving people all the same.

• Role Model by Rachel Reid. Another Heated Rivalry book, and perhaps my favorite so far, as it deals extensively with toxic masculinity and the quest (internally) to overcome it. Relatable.

• Sold by Patricia McCormick. The latest in my banned books series. A difficult subject but accessible read about a young Nepali girl trafficked into India. Video coming soon.

Sapphic Speculative Fiction Expands the Imagination

Many people approach queer romance through familiar frameworks. Modern settings. Recognizable social rules. Families that resemble the structures most of us grew up around. I wrote about this a week or two ago, about looking beyond contemporary romance for great sapphic stories.

Those stories matter. They reflect lived experience and present-day struggles.

Yet some of the most thought-provoking sapphic stories appear in places where the rules look completely different.

Speculative fiction offers writers a simple but radical tool. The ability to ask what happens when the world operates under different assumptions?

What happens when gender does not function the way our societies expect?
What happens when colonial hierarchies collapse or never existed in the first place?
What happens when family and community follow different structures?

Sapphic speculative fiction thrives in these questions.

What counts as speculative fiction?

Speculative fiction serves as an umbrella term for stories that imagine worlds different from our own.

Fantasy explores magic, mythology, and alternate societies.
Science fiction looks at future technology, space exploration, and evolving social systems.
Alternate history reimagines historical timelines.
Dystopian and utopian fiction examine political systems taken to extreme outcomes.
Magical realism blends ordinary life with elements that challenge reality.

All of these genres share a common feature. They build worlds where the assumptions we treat as natural begin to shift.

When those foundations move, storytelling changes.

Reimagining gender systems

Many speculative worlds question the rigid gender frameworks common in contemporary culture.

Some settings include fluid understandings of gender. Others remove the strict gender hierarchy. Some societies organize identity through entirely different categories.

When gender works differently, relationships evolve as well.

Characters express attraction without the scripts that dominate many romance narratives. Partnerships develop around compatibility, trust, or shared goals rather than predetermined roles.

For readers, this shift opens new ways of thinking about identity and connection.

Challenging colonial power structures

Speculative fiction often explores empire, conquest, and resistance.

Many worlds center characters fighting against oppressive systems or rebuilding communities after political collapse. Some stories draw inspiration from Indigenous traditions or non-Western perspectives to imagine societies structured around different values.

Within these settings, sapphic characters frequently appear as leaders, rebels, scholars, or explorers. Their relationships unfold inside larger struggles over power, survival, and cultural memory.

Love does not exist in isolation. It grows alongside questions about justice, resistance, and the future of entire communities.

Rethinking family and community

Another striking feature of speculative fiction involves how stories approach family.

The nuclear family model rarely stands as the only option. Characters often live within chosen families, cooperative communities, traveling crews, or political alliances.

Romantic relationships exist inside these broader networks of care.

Two people falling in love may also share responsibilities to their crew, their village, or their resistance movement. Partnership becomes part of a wider web of loyalty and support.

For many readers, this structure feels both imaginative and deeply familiar.

Common tropes in sapphic speculative fiction

Speculative fiction combines romance with adventure and conflict. Certain narrative patterns recur.

A princess guarded by a loyal warrior or knight who begins to question her duty.
Rival soldiers from opposing factions are forced to work together.
A scholar and a fighter navigating a dangerous quest.
Political enemies are forming uneasy alliances during a rebellion.
Explorers encounter unfamiliar worlds and build trust through survival.

These tropes create tension, intimacy, and emotional growth while the larger story unfolds.

Why these stories expand the imagination

Speculative fiction does more than entertain. It shifts perspective.

When readers step into worlds built on different assumptions, the systems shaping their own lives become visible. Gender roles, political hierarchies, and family structures reveal themselves as historical constructs rather than permanent truths.

Sapphic speculative fiction takes this imaginative shift even further.

Queer women appear not as side characters but as central figures in the story of the world itself. They lead revolutions. Build communities. Explore unknown territories. Fall in love while reshaping the societies around them.

These stories ask readers to imagine something larger than representation.

They ask us to imagine entirely different ways people live together.

An invitation to explore

If you have not spent time with sapphic speculative fiction, consider this an invitation.

Explore fantasy worlds where magic reshapes power.
Read science fiction that questions identity in future societies.
Look for stories where love grows alongside resistance, exploration, and discovery.

These books stretch the imagination in ways that linger long after the final page.

I am especially interested in reading more sapphic speculative fiction this year.

Which books expanded your worldview?
Which stories stayed with you long after you finished them?

Here is a list of books I've read and books on my TBR!

Summary

In Original Sins, Ewing demonstrates that our schools were designed to propagate the idea of white intellectual superiority, to “civilize” Native students and to prepare Black students for menial labor. Education was not an afterthought for the Founding Fathers; it was envisioned by Thomas Jefferson as an institution that would fortify the country’s racial hierarchy. Ewing argues that these dynamics persist in a curriculum that continues to minimize the horrors of American history. The most insidious aspects of this system fall below the radar in the forms of standardized testing, academic tracking, disciplinary policies, and uneven access to resources.

By demonstrating that it’s in the DNA of American schools to serve as an effective and underacknowledged mechanism maintaining inequality in this country today, Ewing makes the case that we need a profound reevaluation of what schools are supposed to do, and for whom. This book will change the way people understand the place we send our children for eight hours a day.

Review
I'm going to keep this review short and sweet and let the learnings talk for themselves. This is necessary reading for all educators. So if you're one, please pick it up ASAP.


What I learned

• Noah Webster, who created The Webster Dictionary wrote it in order to promote uniformity and "purity" in language in the United States as immigration from countries other than England became to increase.

• The beginning of public schooling in America was built upon the idea of encouraging assimilliation and to teach the principles of "Americanism", which is why the Pledge of Allegiance was introduced into the classroom. The hope was that children would then be figures of assimillation in their household and influence the rest of their family.

• Home Economics stemmed from evangelists hoping to "save our social fabric".

"The sin lies not only in the act of violence, but in the creation of the idea that makes the violence morally permissable. I argue that the way Black and Native children have been treated in schools, from the earliest days of this country to the present, is an integral part of the way racial hierarchy is constructed and maintained; that school is a place where thse ideas leave a lifelong mark on our sense of who we are, how we fit into the world, what is normal, and what is just."

• White women educators were often used by the state in order to "tame" and control Black students. This can be especially seen through Lydia Marie Child who taught and wrote how Black people should recieve violence with grace and that retribution should never be an option. She said that the most important thing for a Black child to learn was patience.

• The Carlisle Indian Industrial School opened in 1879 and wasn't closed until 1918. Over 10,000 students were enrolled in this school and were taught by literal military discipline. It's estimated that almost 200 children died here.

  • By 1900, 75% of Native children were enrolled in boarding schools.

    On residential schools:
    " 'Education for exctinction.' Civilization was a code word for the total erasure of Indigenous peoples from the face of the land. Civilization meant genocide."

    

    Photo: from Carlisle Indian Industrial School, 1880
    

• In 1972, Native women were still reporting that they had recieved hysterectomies under duress or without consent. It was discovered that at least a quarter of Native women between the ages 15-45 may have undergone sterilizations. This was also a widespread problem during this time for Black women.

  • In fact, a 2022 report found that 31 states have laws that still permit sterilization without an individual's consent. This largely targets people who are disabled.

• In 1984, a survey of over 1,000 researchers of education and psychology found that 45% of them believed that the differences in Black and White IQ tests were at least partially due to genetic reasons. In 1984!

"We tend to selectively call the beliefs of the past pseudoscience when they make us uncomfortable, rather than confronting the reality that they were once considered orthodox science and relfecting on what that should mean for us now."

• The convict laborer program that started in the 1800s was a death sentence. In Mississippi, not one person involved in the system lived long enough to serve out their ten-year sentence. 1/4 of these prisoners were children.

Hello! I'm so late, I know, I am STRESSED. It's been a struggle lately but I yearn for our book club and want to hear from you! Here's a brief description of the 3 options, vote for which you'd most like to read and/or discuss :) One is a newer release, and two are in honor of the NWSL season!!

Rooting Interest by Cat Disabato

Women's basketball player and a sports journalist caught in a "will they/won't they" that has had people infatuated.

Cleat Cute by Meryl Wilsner

NOT sapphic Heated Rivalry. A young player gets called up to national camp, where she meets one of her idol's. She later gets signed to the same team as her idol, who plays the same position as her, and isntead of feeling the pressure and competition of both wanting to start in that position, she... falls head over heels. AMAZING adhd and autism rep, and a rare miscommunication trope that made me giggle instead of scream.

Hotshot by Clare Lydon

Sport psychologist and the new start player, straight from the NWSL and new to the UK. A really fun at UK women's soccer, with NWSL as an entry point.