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Doyle opens her critique by calling Swift “the confessional female singer/songwriter of her generation”—and clearly doesn’t mean that as a compliment—but doesn’t connect that key word, “confessional,” with its most obvious referents: the confessional poets. Rosenthal defined this style as “the way [the writer] brought his private humiliations, sufferings, and psychological problems into the poems…usually developed in the first person and intended without question to point to the author himself.” Later critics labeled the confessionals as a group “determined not to lie in verse.” Compare Doyle’s critique of Swift’s style and subjects to this passage from Charles Molesworth, a critic writing in 1976 about another female artist with perceived autobiographical leanings in her work: Sylvia Plath.

If you know nothing about palm reading, there are four basic palm lines to know about: the heart line (or “love” line), the fate line, the head line, and the life line.

Twitter timelines were scoured; photographic support was amassed; offhand comments were overanalyzed; and whole dossiers of “evidence” were collected to reconstruct the events that were allegedly behind the song.

Joni Mitchell attached names to her songs only intermittently; "Willy" is pretty much explicitly about Graham Nash, but according to the biography , she told one friend that "A Case of You" was about Leonard Cohen, and another that it was about James Taylor.These three lines represent the critical parts in your life such as the heart, head, and life lines.All of these can show a piece of your personality, reading these lines has been called palmistry, a method that has been used for many years in Asia, Babylonia, Israel, and Persia.And with her third album , there's more attention than ever being paid to what she's confessing.

Which is entirely predictable: Her life now includes plenty of famous names, including allegedly faithless Disney star Joe Jonas, heartthrob Taylor Lautner, and tabloid fixture John Mayer.Her autobiographical leanings have become part of what we “know” about Taylor Swift—but responses to this knowledge have been mixed. In Sady Doyle’s early take on this aspect of Swift’s songwriting, featured in than taking in a new, soon-to-be-hit album. Which isn’t to condemn Swift totally, or to say that her much-publicized dating life or much-published feelings are entirely artificial.

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