Sounds Like Love

Joni’s new relationship with Sasha—the mysterious voice in her head—introduces The Transformative Power of Love and Intimacy as a theme. Before Sasha’s unexplained appearance in Joni’s mind, she felt isolated and alone. She loves her parents, brother, and best friend, but fears that all the time she spent away from Vienna Shores created an irreparable distance between her and her loved ones. Therefore, Sasha assumes the role of Joni’s companion, friend, and support system. Although Joni doesn’t understand how or why Sasha suddenly became lodged in her consciousness, she derives comfort and encouragement from his constant presence. Sasha’s voice symbolizes Joni’s true self. When she and Sasha are telepathically communicating, Joni feels centered, balanced, and at peace. Conversing with Sasha allows her to process her thoughts, feelings, insecurities, and longings in real time. He helps her make sense of her past, present, and future. The novel thus suggests that love and intimacy can help one better understand oneself and fortify one’s inner voice.

The longer Joni is in Vienna Shores, the more complex her self-examination becomes, which thematically highlights The Journey Toward Healing and Self-Reclamation. This is particularly true because Joni is still experiencing writer’s block, is still coming to terms with her mom’s illness and processing her parents’ decision to close the Rev. These conflicts in Joni’s personal life further destabilize her as a person and introduce new internal challenges for her. Because Joni feels insecure in herself, she struggles to claim her voice and make decisions from her heart. Her developing relationship with Sasha encourages her to confront these aspects of her internal conflict. When she finally meets Sasha in person—and discovers that he’s Sebastian Fell—her resulting internal monologue captures the healing work she must still do:

A small, egotistical part of me was afraid of showing a peer that I was burnt out, but a bigger part of me was simply cautious of a stranger seeing this private, imperfect life of mine. I was afraid that he would judge it. I was afraid he wouldn’t like it (139).

This passage has a confessional tone, revealing Joni’s fear of vulnerability. When Sasha was just a voice in her head and not a real-life pop star, she felt safe with him. When she discovers his identity, self-consciousness overcomes her. She regards her life as fundamentally less significant than others’ lives, and feels particularly insignificant in comparison to the accomplished Sebastian. This moment illustrates Joni’s need to accept her circumstances so that she can grow beyond her heartbreak and frustration. Sasha’s character promises to play a vital role in her transformation.

Van Erickson’s character intensifies the narrative atmosphere and raises the stakes of Joni’s journey. Returning to Vienna Shores has already created conflict between Joni’s past and present versions of herself. Seeing Van again heightens her self-consciousness. Just being in his presence reminds her of the girl she was when they were together nearly a decade ago. She gives him her number because she isn’t “very good at self-preservation” (113). Their relationship feels unresolved to her. Seeing him again makes her wonder if she can find closure for what she perceives as lingering feelings for her ex. However, Van’s presence promises to complicate Joni’s emerging feelings for Sasha and her ability to claim her adult identity. He represents the past and thus threatens to tug Joni back into a former, less-assured version of herself.

The chapter titles’ references to pop songs continues. For example, Chapter 13 (in which Joni reflects that Sasha was right to declare that all songs are love songs) takes its title from The Cure hit “Lovesong.” The title of Chapter 15 (in which Joni plays piano alone at the Rev, interrupted telepathically by Sasha and physically by Van, who both ask to see her) refers to the Matchbox 20 hit “3AM” and its lyric, “I must be lonely.” Chapter 16 (in which Sasha comforts Joni after her mother has a dementia episode) takes its title from the Indigo Girls’ “Closer to Fine.” The title of Chapter 17 (in which Joni is shocked and disheartened to realize that Sasha is pop star Sebastian Fell) refers to the Creedance Clearwater Revival hit “Bad Moon Rising,” while Chapter 18 (in which Mitch explains why he’s relieved not to shoulder the burden of running the Rev) takes its title from the Rolling Stones hit “Beast of Burden.”