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Cover of MONKEY KING AND THE WORLD OF MYTHS

MONKEY KING AND THE WORLD OF MYTHS

by negativity or “wicked thoughts,” eventually turning them into monsters. Sun Wukong, the Monkey King, encounters the equally famous Momotaro, or Peach Boy, from Japanese folklore, forming an empathic bond even as they venture to Demon Island. They meet fox spirit Kit, along with other beasts and yokai (spirits), and together recover magical treasures while unraveling mysteries and narrowly averting war between beasts and humans. Lam again weaves a colorful and exhilarating pictorial narrative that will delight readers, inhabited by appealing characters such as Tofu\u002DBoy. Although the iconic Monkey King is eternally childlike, in the portrayal of Wukong’s hero’s journey in his human form, he appears as a young adult, perhaps signaling his interior world. Lam’s charmingly expressive and endearing illustrations add humor to this rollicking adventure\u003B Cerberus, Wukong’s constant companion and a carry\u002Dover from the first book, is adorably fluffy and rotund. "4.4/5(19)

Cover of MOON SONGS

MOON SONGS

by quotes from Emshwiller. One proclaims her love for unreliable narrators\u003B another disclaims any intention to provide “meaning,” asserting, “I just try to write a good, well\u002Dformed story.” And she does just that, establishing eerie atmospheres in mere handfuls of words, often and most effectively through a set of characters encountering something out of their norm—alien, or wrong, or just different—which in turn draws the inhuman out of them. Her final published story, the post\u002Dapocalyptic “All I Know of Freedom,” closes the collection with grim hope that resonates long after its 2012 publication. This compellingly assembled retrospective gives longtime Emshwiller fans a chance to savor her unique sensibility again, while lucky newcomers enjoy the thrill of discovery."5.0/5(1)

Cover of MORE AND MORE AND MORE

MORE AND MORE AND MORE

by a new one. In this model, wood gives way to coal, which gives way to oil, then electricity, nuclear, and eventually renewable energy become the dominant forms. The book argues that the transition model was originally created by industrialists touting their products as the wave of the future. The idea especially took off after World War II, with the “atomic age” promoted as a new era of clean, cheap energy. Historians as well as the popular press adopted the idea without looking closely at all the ways it simplified what was really happening. Fressoz, a French historian of science and technology, rejects this model, supplying abundant evidence that instead of earlier forms being replaced as newer ones came online, they remained in use, often supplementing the new forms. For example, the rise of coal was accompanied by an increase in the use of wood, for braces in the coal mines, railroad ties, and construction of railroad cars. A similar dynamic followed each of the later “energy transitions,” with coal usage increasing as oil became the dominant energy source\u003B more coal is being used today than ever before, notably to generate electricity in Asian countries but also to make steel and other metals. Most recently, “transition” has become a mantra for those responding to the climate crisis—all the bad, polluting energy sources will be replaced eventually by something greener. Fressoz does not dispute the severity of the climate crisis. Instead, he points to “the need…for a new understanding of energy and material dynamics” instead of reliance on “bad history.”"4.1/5(150)

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