All Taylor Swift’s Book Mentions & Literary References

Taylor Swift’s songs are like a secret library, filled with hidden references to books, stories, and characters from different worlds. If you’re both a Swiftie and a lover of literature, you know her work is full of little treasures—those moments when a lyric feels familiar, like a quote from a novel you’ve loved. So let’s dive into the literary allusions scattered throughout Taylor’s music. It’s like a scavenger hunt, where words and stories from the pages of books merge with the melodies in ways you didn’t expect.

Classic Novels and Iconic Characters

Peter Pan – “Cardigan” & “Enchanted”

In Cardigan, Taylor sings, “Tried to change the ending / Peter losing Wendy.” There’s something about that line that cuts deep—it’s a reflection of lost innocence, of growing up, and of wanting to hold on to something you can never truly keep. The reference to Peter Pan isn’t just about the character; it’s about that ache of wanting to stay young, and that inevitable pain of growing up.

Enchanted gives us a similar whimsical vibe, though it doesn’t directly call out Peter Pan. The song’s sense of wonder and yearning for something magical feels almost like a fairy tale in its own right, with a feeling of lost potential, like something beautiful that slips away.

The Great Gatsby – “This Is Why We Can’t Have Nice Things” & “Happiness”

In This Is Why We Can’t Have Nice Things, Taylor directly channels The Great Gatsby. “Feeling so Gatsby for that whole year” is more than just a reference—it’s about the chaos of extravagant dreams and the fall from grace that’s inevitable when you try to hold onto a facade. It’s that bittersweet fantasy of living in a world of perfection that can’t last.

Happiness continues the theme, where Taylor sings about Daisy Buchanan’s line, “I hope she’ll be a beautiful fool,” and alludes to the symbolic “green light.” It’s that unachievable dream, that unattainable goal, much like Gatsby’s obsession. Taylor’s lyrics mirror the same yearning and loss that Fitzgerald so brilliantly captured.

Jane Eyre – “Invisible String” & “Dear Reader”

In Invisible String, Taylor taps into the essence of Jane Eyre. The idea that love is fated, that some invisible force has been pulling two people together all along. “Isn’t it just so pretty to think / All along there was some invisible string / Tying you to me,” she sings, evoking that connection, that pull between two souls. It’s the kind of love that’s as inevitable as the turning of pages in a beloved book.

Dear Reader follows a similar path. It’s like a whisper directly to the listener—an invitation to see things as Taylor sees them. It’s a break in the fourth wall, much like the way Jane Eyre speaks to us, the readers. Taylor’s raw honesty and vulnerability echo that same confessional tone, inviting us into her world, the way Jane Eyre invites us into hers.

Rebecca – “Tolerate It” & “No Body, No Crime”

Rebecca looms large in Tolerate It. The narrator in du Maurier’s novel is often neglected and left to wither in the shadow of the memory of Rebecca, and Taylor captures that same sense of quiet despair. “I don’t like the way I’m treated,” she sings, a cry for attention, for acknowledgment. It’s like the nameless narrator, slowly fading into the background, unseen and unheard.

No Body, No Crime is an entirely different tone—mysterious and ominous, much like Rebecca. It has that dark, suspenseful energy, hinting at secrets and lies waiting to be uncovered. Taylor weaves in the same eerie atmosphere, where betrayal and revenge take center stage.

The Secret Garden – “I Hate It Here”

In I Hate It Here, there’s a clear nod to The Secret Garden. The idea of finding a quiet space to escape to, somewhere you can breathe and be yourself. Taylor sings, “I read about it in a book when I was a precocious child,” which evokes that sense of retreat into a world of comfort, like the secret garden where Mary Lennox finds solace. It’s a moment of emotional healing, where the outside world can’t touch you.

Poetic and Literary Allusions

Dylan Thomas – “The Tortured Poets Department”

In The Tortured Poets Department, Taylor evokes the spirit of Dylan Thomas. “You’re not Dylan Thomas, I’m not Patti Smith,” she sings, referencing two giants of literature. It’s about exploring identity and the weight of artistic creation. Taylor knows what it’s like to be in the throes of creating something meaningful, even when it doesn’t always come easy.

Miller Williams – “Ivy”

Ivy is soaked in the imagery of Miller Williams’ poem Compassion. “I’d meet you where the spirit meets the bones,” Taylor sings, a line that resonates with the depth of connection and emotion. It’s a love that transcends the physical—it’s rooted in something deeper, something timeless. It’s the kind of love that doesn’t just live in the surface world but sinks into the very core of who you are.

Samuel Taylor Coleridge – “The Albatross”

In The Albatross, Taylor leans into Coleridge’s The Rime of the Ancient Mariner. The albatross, symbolizing guilt and burden, becomes a haunting presence in Taylor’s song. The weight of regret, the guilt that lingers long after the moment has passed—it’s something Taylor brings to life with haunting imagery, much like Coleridge’s mariner.

The Iliad – “You Are in Love” & “State of Grace”

In You Are in Love, Taylor alludes to The Iliad when she sings, “They lost their minds and fought the wars.” It’s the madness of love, the kind that makes people do things they never thought they’d do. Taylor captures that sense of chaos and emotional recklessness, much like the heroes in The Iliad who fought for love and honor.

In State of Grace, the reference to Achilles’ heel brings in a vulnerability that’s all too human. “You are my Achilles’ heel,” Taylor sings, acknowledging that even the strongest love has its weak spots. It’s the perfect metaphor for that kind of love—strong yet fragile.

Fairy Tales and Folklore

Alice in Wonderland – “Wonderland”

In Wonderland, Taylor invites us to follow her down the rabbit hole, much like Alice did in her own journey. The song is disorienting and whimsical, a world where logic doesn’t quite apply, much like the world of Alice in Wonderland. It’s a perfect metaphor for a love that’s impossible to understand but impossible to ignore.

Snow White – “The Best Day”

In The Best Day, Taylor taps into the innocence and magic of fairy tales, particularly Snow White. “Snow White’s house” becomes a symbol of childhood wonder and joy, a moment frozen in time when everything felt pure and safe. It’s nostalgia wrapped in innocence, a time when the world seemed like a better place.

Humpty Dumpty – “The Archer”

In The Archer, Taylor references the nursery rhyme Humpty Dumpty with the line, “All the king’s horses, all the king’s men / Couldn’t put me together again.” It’s the feeling of being irreparably broken, of falling apart in a way that nothing can fix. It’s raw, painful, and deeply human.

Subtle Literary Echoes

The Sun Also Rises – “The 1” & “Invisible String”

In The 1, there’s an echo of Ernest Hemingway’s The Sun Also Rises with the line, “It would’ve been fun / If you would’ve been the one.” It’s that sense of what could have been, of love lost and potential unfulfilled. The song captures the same feeling of hopelessness that runs through Hemingway’s writing.

Invisible String carries that same weight, with Taylor singing, “Isn’t it just so pretty to think,” a quiet reflection on fate and the twists of life that bring us to where we are. It’s a line that lingers, much like Hemingway’s writing, leaving us wondering about the paths we didn’t take.

Taylor’s music is more than just lyrics and melodies—it’s a reflection of the stories we tell ourselves, the books we read, and the worlds we imagine. Her songs aren’t just soundtracks for our lives; they’re reminders that art is everywhere. Every lyric is a link in a chain that ties us to something deeper, something universal. Do you have a favorite literary reference in her songs? Let’s keep this conversation going.