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The Taylor Swift Book: A Deep Dive Into Songs, Cats, Style, Tours, Lore and Much More
Go beyond Taylor Swift’s iconic music with The Taylor Book, the deepest and most comprehensive exploration of her stratospheric career to date.
From her humble days as a teen country artist to her record-obliterating Eras Tour, Taylor Swift is a supernova that shows no sign of burning out. This groundbreaking book gives her career the depth it deserves, featuring her studio albums alongside iconic outfits, music videos, muses, trailblazing re-recordings, and more – everything that die-hard fans need to know about is right here.
The Taylor Book explores the life of an icon, Expert analysis of every original album and Taylor’s Version re-recording, up to and including The Tortured Poets DepartmentIn-depth exploration of Taylor Swift’s most beloved songs and music videosBreakdowns of Taylor’s notorious Easter Eggs, helping fans understand and explain the secret messaging she slips into every albumExploration of her songwriting process and genre experimentationIconic fashion moments from each EraExquisite images spanning Taylor’s entire careerA look at Taylor’s work beyond the music, from her acting credits and fandom to her relationships and politics…and much more!
The Taylor Book is the ultimate guide to a generation-defining pop sensation, packed with beautiful images and all the context you need to fully immerse yourself in the Swiftiverse. Whether you’re already a die-hard fan looking for deeper insight into her life or a brand-new Swiftie eager for the most complete guide to all things Taylor Swift, this is the book for you.
From her humble days as a teen country artist to her record-obliterating Eras Tour, Taylor Swift is a supernova that shows no sign of burning out. This groundbreaking book gives her career the depth it deserves, featuring her studio albums alongside iconic outfits, music videos, muses, trailblazing re-recordings, and more – everything that die-hard fans need to know about is right here.
The Taylor Book explores the life of an icon, Expert analysis of every original album and Taylor’s Version re-recording, up to and including The Tortured Poets DepartmentIn-depth exploration of Taylor Swift’s most beloved songs and music videosBreakdowns of Taylor’s notorious Easter Eggs, helping fans understand and explain the secret messaging she slips into every albumExploration of her songwriting process and genre experimentationIconic fashion moments from each EraExquisite images spanning Taylor’s entire careerA look at Taylor’s work beyond the music, from her acting credits and fandom to her relationships and politics…and much more!
The Taylor Book is the ultimate guide to a generation-defining pop sensation, packed with beautiful images and all the context you need to fully immerse yourself in the Swiftiverse. Whether you’re already a die-hard fan looking for deeper insight into her life or a brand-new Swiftie eager for the most complete guide to all things Taylor Swift, this is the book for you.
- GenresNonfiction
222 pages, Kindle Edition
Published May 6, 2025
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Displaying 1 - 3 of 3 reviews
September 16, 2025
the format of this is easy and fun, very coffee table book. it gets bonus points for actually discussing the tortured poets department. but there are plenty of inaccuracies and things i don’t agree with, and it just generally is pretty middle of the road.
opinions
“you belong with me” does not have the best bridge on fearless. “forever & always” and “the way i loved you” say hello!
“you belong with me” could not have “been written for kelly clarkson or paramore.”
the second half of red is not bad or less good than the first half.
red does not have the best vault tracks and the 1989 vault tracks are not disappointing!!!!!
the 1989 vault tracks would not be better suited on midnights.
the reference to the scarlet letter in “love story” does “fit” y’all just don’t get it.
her look at the 2015 vmas (a crop top, high heels, and dramatic eye makeup) is not “less gendered.”
“fortnight” is not a “safe choice.”
inaccuracies
they don’t communicate in the “you belong with me” via flash cards (they use notebooks).
taylor doesn’t actually “diss” or insult the other girl in “you belong with me.”
john mayer’s song “paper doll” doesn’t “quote taylor’s line about being ‘too young’ and saying that he should’ve known because she ‘cried the whole way home.’” it references the lyrics about painting the sky and running.
some people in the (unnecessary) section dedicated to her relationships are not known/confirmed relationships she’s had (are we really pushing the narrative that because she was photographed with a guy she must have dated him??)
taylor never said her dream that inspired “all you had to do was stay” was “cringey,” she said it was “weird.”
katy perry and lady gaga are not “alter egos,” they’re stage names.
“thank you aimee” is not a diss track.
there is nothing to suggest that “the man” has the least music video views of all the lover videos because taylor’s disguised as a man. nor does it “disprove her own hypothesis that she might fare better with any extra y chromosome.”
the stonewall riots did not “give birth to the queer liberation movement” queer people resisting and organizing existed prior, thanks.
taylor didn’t pull her catalog from spotify because she was “unhappy with streaming numbers,” it was because artists weren’t be fairly compensated for their art.
“pissed off” meaning angry is not a british colloquialism.
other notes:
“her underwear-clad body is caught in an intimate moment of self-love – or close to it” is a truly weird way of describing the album cover for the tortured poets department, as if it’s more salacious than it is. “underwear clad body” makes it seem like she’s showing more skin than her thighs and arms, and saying she’s “close to” masturbating is a gross overstatement of her arm resting across her stomach.
the “easter eggs” sections are more so just a list of fun facts, possible personal life connections, references, and various theories, rather than actual easter eggs that have been explained/decoded.
in the section listing reasons why taylor is a good role model there’s a bit of misogyny, unintended i assume. it’s said that she’s “beautiful, but has never made her looks the focus of her appeal” and “as a rule,” doesn’t “rest on sex appeal” and “isn’t overly fussed about clothes and hair and make-up.” not only is it questionable to say taylor “goes out in tens of thousands of dollars worth of high end fashion and accessories” swift isn’t “fussed” with any of that, but so what if she was? a beautiful woman can only be a role model if she doesn’t care about her looks? then it’s said that she doesn’t “kiss and tell” and the fact that “none of her exes have divulged details says something about her character.” again, she can’t be a role model if she publicly discusses her relationships? and it’s so typical that a man’s behavior is being used as a reflection of a woman’s character. and finally, she’s a good role model because even though she “likes the spotlight,” she isn’t “at every photo op or every met gala,” she only shows up when she “needs to promote her work and support her friends.” ah, she likes the attention, but not too much. gotcha! this all just feels like nitpicking women’s behavior and making them jump through hoops to be viewed as good people.
“her art is very much tailored for the female gaze, and doesn’t pander to patriarchal overlords.” i’m gonna need people to stop applying “male/female gaze” to real people and how they express themselves in their art.
it’s odd that it’s mentioned taylor used “casually cruel” on “all too well” after vaulting it on “mr. perfectly fine” and that “perfectly fine” later appeared on “king of my heart” without noting that “perfectly fine” is also in “the way i loved you”
each album had a “what critics say” section with a single quote and they were all positive except red (“had some duds”), 1989 (“bold and new for taylor but not pop music as a whole”), and lover (“least compelling spots are its singles” and “swift might have oversteered after rep”). funnily enough, the one for folklore was the only to include an insult to previous albums (“the sound of an artist who’s bored of calculated releases”).
the descriptions of kim and kanye were...interesting. kim was described as “claiming she was simply defending her husband, but looked like she was standing by laughing, secretly recording, and teasing with snake emojis, when she knew taylor had her best to accommodate kanye,” whereas kanye was described as “a complex and confusing artist with mental health struggles” and “at least seemed to be trying to make collaborative art.” let’s not portray kanye as a troubled soul trying his best while kim was his evil scheming wife. kim gleefully played her part, but so did the unapologetic bigot and abuser.
right after criticizing people for pitting women against each other and making their music a competition, it’s said “that’s that me espresso” is “cute” and “let’s work it out on the remix” is “very cool,” but “what if he’s written mine, on my upper thigh only in my mind” is “the best lyric of 2024.” kinda seems like randomly and unnecessarily pitting women against each other and making their music a competition.
the valid criticism of the “fat” scale in the “anti-hero” music video was dismissed as taylor being “attacked” and “condemned” when sharing “painful and relatable” things, which might make her “keep her mouth shut on important issues” for “fear of getting it wrong.” there’s a difference between constructive criticism and attacking someone (and the article mentioned was absolutely the former). the meaning and intention of the weighing scene without showing the scale reading “fat” was not altered or removed. and considering taylor removed that clip, she must have taken the criticism to heart rather than seen it as an attack, viewed it from a perspective not her own that she probably hadn’t considered prior, and also realized it wasn’t needed to convey her point and played into stigma she did not want to perpetuate.
lastly, a little anti-“gaylor” rant from a queer person who does not support invasive speculation about real people being queer. it’s mentioned that some fans believe “the very first night” is “about taylor having an affair with a woman,” because the rhyme scheme would “work better” if she rhymed “picture” and “whisper” with “her” rather than “you.” it’s questioned if this is a “pithy easter egg, or conspiracy theory.” putting aside that taylor would not drop little clues about her sexuality because she has said she doesn’t easter egg her personal life and that she has referred to the queer community as “a community i’m not a part of” (when asked why she decided to “get louder about lgbtq rights” in 2019), this makes zero logical sense. do you know how many words fit rhymes or patterns better than the ones used in various songs or poems? it doesn’t mean those words are the ones that are actually meant to be there. but most obviously: she was singing to the person in that song, not about them. then it’s mentioned that taylor was “linked (in unsubstantiated rumors)” to dianna agron. if you acknowledge that it’s a baseless rumor (and that dianna said it’s not true!), why bring it up? as if it isn’t a false and invasive speculation about a real person’s sexuality, who has made it clear she does not like it?
and when discussing “lavender haze,” it’s noted that taylor “apparently” got the phrase from an episode of mad men and it was “supposedly” a term for being in love in the 1950s. those words make it seem like none of that is true, as does the author explaining the use of lavender in queer contexts. but babes, the phrase is used the 2008 episode of mad men “the mountain king” (season 2, episode 12), where one character says “look at you, you’re in the lavender haze” about another character waxing poetic about a new love interest. as for taylor saying when she looked it up she found it was used in this manner in the 1950s, well, this was in the boston globe in 1958: “he pinched the lobe of her left ear between the thumb and finger of his right hand, evidently aiming to repeat the technique of helping himself to a kiss that had worked all right three years ago. but mary was no longer a 16-year-old floating around in a lavender haze of imaginative romance.” just because lavender has a context in queerness does not mean that’s its only context. the author also included this, as well as taylor’s use of the word lover and mentions of places with historical queer context, in his list of taylor’s “queerest moments” on instagram, which is a whole other can of worms. stop putting allies who do bare minimum shit on such a pedestal or making them queer adjacent with winks about what their allyship could secretly mean (which is a narrative that hurts actual closeted people!).
opinions
“you belong with me” does not have the best bridge on fearless. “forever & always” and “the way i loved you” say hello!
“you belong with me” could not have “been written for kelly clarkson or paramore.”
the second half of red is not bad or less good than the first half.
red does not have the best vault tracks and the 1989 vault tracks are not disappointing!!!!!
the 1989 vault tracks would not be better suited on midnights.
the reference to the scarlet letter in “love story” does “fit” y’all just don’t get it.
her look at the 2015 vmas (a crop top, high heels, and dramatic eye makeup) is not “less gendered.”
“fortnight” is not a “safe choice.”
inaccuracies
they don’t communicate in the “you belong with me” via flash cards (they use notebooks).
taylor doesn’t actually “diss” or insult the other girl in “you belong with me.”
john mayer’s song “paper doll” doesn’t “quote taylor’s line about being ‘too young’ and saying that he should’ve known because she ‘cried the whole way home.’” it references the lyrics about painting the sky and running.
some people in the (unnecessary) section dedicated to her relationships are not known/confirmed relationships she’s had (are we really pushing the narrative that because she was photographed with a guy she must have dated him??)
taylor never said her dream that inspired “all you had to do was stay” was “cringey,” she said it was “weird.”
katy perry and lady gaga are not “alter egos,” they’re stage names.
“thank you aimee” is not a diss track.
there is nothing to suggest that “the man” has the least music video views of all the lover videos because taylor’s disguised as a man. nor does it “disprove her own hypothesis that she might fare better with any extra y chromosome.”
the stonewall riots did not “give birth to the queer liberation movement” queer people resisting and organizing existed prior, thanks.
taylor didn’t pull her catalog from spotify because she was “unhappy with streaming numbers,” it was because artists weren’t be fairly compensated for their art.
“pissed off” meaning angry is not a british colloquialism.
other notes:
“her underwear-clad body is caught in an intimate moment of self-love – or close to it” is a truly weird way of describing the album cover for the tortured poets department, as if it’s more salacious than it is. “underwear clad body” makes it seem like she’s showing more skin than her thighs and arms, and saying she’s “close to” masturbating is a gross overstatement of her arm resting across her stomach.
the “easter eggs” sections are more so just a list of fun facts, possible personal life connections, references, and various theories, rather than actual easter eggs that have been explained/decoded.
in the section listing reasons why taylor is a good role model there’s a bit of misogyny, unintended i assume. it’s said that she’s “beautiful, but has never made her looks the focus of her appeal” and “as a rule,” doesn’t “rest on sex appeal” and “isn’t overly fussed about clothes and hair and make-up.” not only is it questionable to say taylor “goes out in tens of thousands of dollars worth of high end fashion and accessories” swift isn’t “fussed” with any of that, but so what if she was? a beautiful woman can only be a role model if she doesn’t care about her looks? then it’s said that she doesn’t “kiss and tell” and the fact that “none of her exes have divulged details says something about her character.” again, she can’t be a role model if she publicly discusses her relationships? and it’s so typical that a man’s behavior is being used as a reflection of a woman’s character. and finally, she’s a good role model because even though she “likes the spotlight,” she isn’t “at every photo op or every met gala,” she only shows up when she “needs to promote her work and support her friends.” ah, she likes the attention, but not too much. gotcha! this all just feels like nitpicking women’s behavior and making them jump through hoops to be viewed as good people.
“her art is very much tailored for the female gaze, and doesn’t pander to patriarchal overlords.” i’m gonna need people to stop applying “male/female gaze” to real people and how they express themselves in their art.
it’s odd that it’s mentioned taylor used “casually cruel” on “all too well” after vaulting it on “mr. perfectly fine” and that “perfectly fine” later appeared on “king of my heart” without noting that “perfectly fine” is also in “the way i loved you”
each album had a “what critics say” section with a single quote and they were all positive except red (“had some duds”), 1989 (“bold and new for taylor but not pop music as a whole”), and lover (“least compelling spots are its singles” and “swift might have oversteered after rep”). funnily enough, the one for folklore was the only to include an insult to previous albums (“the sound of an artist who’s bored of calculated releases”).
the descriptions of kim and kanye were...interesting. kim was described as “claiming she was simply defending her husband, but looked like she was standing by laughing, secretly recording, and teasing with snake emojis, when she knew taylor had her best to accommodate kanye,” whereas kanye was described as “a complex and confusing artist with mental health struggles” and “at least seemed to be trying to make collaborative art.” let’s not portray kanye as a troubled soul trying his best while kim was his evil scheming wife. kim gleefully played her part, but so did the unapologetic bigot and abuser.
right after criticizing people for pitting women against each other and making their music a competition, it’s said “that’s that me espresso” is “cute” and “let’s work it out on the remix” is “very cool,” but “what if he’s written mine, on my upper thigh only in my mind” is “the best lyric of 2024.” kinda seems like randomly and unnecessarily pitting women against each other and making their music a competition.
the valid criticism of the “fat” scale in the “anti-hero” music video was dismissed as taylor being “attacked” and “condemned” when sharing “painful and relatable” things, which might make her “keep her mouth shut on important issues” for “fear of getting it wrong.” there’s a difference between constructive criticism and attacking someone (and the article mentioned was absolutely the former). the meaning and intention of the weighing scene without showing the scale reading “fat” was not altered or removed. and considering taylor removed that clip, she must have taken the criticism to heart rather than seen it as an attack, viewed it from a perspective not her own that she probably hadn’t considered prior, and also realized it wasn’t needed to convey her point and played into stigma she did not want to perpetuate.
lastly, a little anti-“gaylor” rant from a queer person who does not support invasive speculation about real people being queer. it’s mentioned that some fans believe “the very first night” is “about taylor having an affair with a woman,” because the rhyme scheme would “work better” if she rhymed “picture” and “whisper” with “her” rather than “you.” it’s questioned if this is a “pithy easter egg, or conspiracy theory.” putting aside that taylor would not drop little clues about her sexuality because she has said she doesn’t easter egg her personal life and that she has referred to the queer community as “a community i’m not a part of” (when asked why she decided to “get louder about lgbtq rights” in 2019), this makes zero logical sense. do you know how many words fit rhymes or patterns better than the ones used in various songs or poems? it doesn’t mean those words are the ones that are actually meant to be there. but most obviously: she was singing to the person in that song, not about them. then it’s mentioned that taylor was “linked (in unsubstantiated rumors)” to dianna agron. if you acknowledge that it’s a baseless rumor (and that dianna said it’s not true!), why bring it up? as if it isn’t a false and invasive speculation about a real person’s sexuality, who has made it clear she does not like it?
and when discussing “lavender haze,” it’s noted that taylor “apparently” got the phrase from an episode of mad men and it was “supposedly” a term for being in love in the 1950s. those words make it seem like none of that is true, as does the author explaining the use of lavender in queer contexts. but babes, the phrase is used the 2008 episode of mad men “the mountain king” (season 2, episode 12), where one character says “look at you, you’re in the lavender haze” about another character waxing poetic about a new love interest. as for taylor saying when she looked it up she found it was used in this manner in the 1950s, well, this was in the boston globe in 1958: “he pinched the lobe of her left ear between the thumb and finger of his right hand, evidently aiming to repeat the technique of helping himself to a kiss that had worked all right three years ago. but mary was no longer a 16-year-old floating around in a lavender haze of imaginative romance.” just because lavender has a context in queerness does not mean that’s its only context. the author also included this, as well as taylor’s use of the word lover and mentions of places with historical queer context, in his list of taylor’s “queerest moments” on instagram, which is a whole other can of worms. stop putting allies who do bare minimum shit on such a pedestal or making them queer adjacent with winks about what their allyship could secretly mean (which is a narrative that hurts actual closeted people!).
June 18, 2025
⭐️⭐️⭐️⭐️⭐️
An Enthralling, Encyclopedic Love Letter to Taylor Swift and Her Universe
The Taylor Swift Book: A Deep Dive Into Songs, Cats, Style, Tours, Lore and Much More is everything a Swiftie could dream of—and more. Bursting with detail, charm, and genuine admiration, this book doesn’t just chronicle Taylor Swift’s career; it celebrates the vibrant, multi-dimensional world she’s created around herself. From deep lyrical dissections to nods at her iconic fashion, feline companions, Easter eggs, and fan theories, this is a full-spectrum tribute to the artist who redefined modern pop storytelling.
What makes this book a five-star read is how joyfully comprehensive it is. Each section feels curated with care, diving into not only Taylor's discography across eras, but also her evolution as a public figure, cultural icon, and creative visionary. There's room here for serious analysis—like the breakdown of motifs and lore across albums—but also for the lighter, delightful touches: cat names, favorite outfits, and unforgettable tour moments.
Whether you're newly enchanted by Folklore or a day-one fan from Debut, this book feels like both a celebration and a homecoming. It honors Taylor not just as an artist, but as a woman who has wielded storytelling, vulnerability, and reinvention to craft a singular legacy. It’s also refreshingly inclusive, nodding to the diverse fanbase who’ve found belonging in her lyrics.
A must-have for anyone who loves Taylor Swift—not just for the music, but for the universe she’s built around it. Equal parts fun, reflective, and lovingly geeky. Five dazzling stars.
An Enthralling, Encyclopedic Love Letter to Taylor Swift and Her Universe
The Taylor Swift Book: A Deep Dive Into Songs, Cats, Style, Tours, Lore and Much More is everything a Swiftie could dream of—and more. Bursting with detail, charm, and genuine admiration, this book doesn’t just chronicle Taylor Swift’s career; it celebrates the vibrant, multi-dimensional world she’s created around herself. From deep lyrical dissections to nods at her iconic fashion, feline companions, Easter eggs, and fan theories, this is a full-spectrum tribute to the artist who redefined modern pop storytelling.
What makes this book a five-star read is how joyfully comprehensive it is. Each section feels curated with care, diving into not only Taylor's discography across eras, but also her evolution as a public figure, cultural icon, and creative visionary. There's room here for serious analysis—like the breakdown of motifs and lore across albums—but also for the lighter, delightful touches: cat names, favorite outfits, and unforgettable tour moments.
Whether you're newly enchanted by Folklore or a day-one fan from Debut, this book feels like both a celebration and a homecoming. It honors Taylor not just as an artist, but as a woman who has wielded storytelling, vulnerability, and reinvention to craft a singular legacy. It’s also refreshingly inclusive, nodding to the diverse fanbase who’ve found belonging in her lyrics.
A must-have for anyone who loves Taylor Swift—not just for the music, but for the universe she’s built around it. Equal parts fun, reflective, and lovingly geeky. Five dazzling stars.
July 4, 2025
A cheap alternative to the Eras Book. It's cute, just not that great (if only all pictures were good res!).
Displaying 1 - 3 of 3 reviews