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Cover of THE MASK

THE MASK

by actors in theater before they were used for protection from disease and pollution. Perhaps that idea of misrepresentation is behind the social and political attitudes of protective mask wearing. Strasser (a biologist) and Schlich (a physician) examine the ways people have used protective masks to avoid “bad air” over centuries. The bad air can be too cold or too dry\u003B full of dust, smoke, bacteria, or viruses\u003B or toxic from military use, industry, or transportation. The use of protective masks illustrates what the authors call a technological fix. “Health and disease are examples of hugely complex phenomena, and they become even more so when considered collectively.” Society looks for a simple solution to a complex problem, and protective masks—and their uses and misuses over centuries—are a good example. Masks can be mandated or just recommended during epidemics, wars, or environmental disasters, but the primary responsibility for protection rests with the wearer. From plague doctors in the 1600s to the discovery of bacteria, protective masks were key to combating disease. Masks were also in great favor during the Industrial Revolution, because forcing workers—who were sanding wood, applying pesticides, spraying paint, mining coal, and making hats—to wear masks at work meant that industrialists didn’t need to clean up the work environment. Just slap a mask on workers, and they were good to go. The technology of masks has evolved over the centuries, but the politics of mask wearing has always been divisive, with some seeing protective masks as symbols of cowardice and fear, infringing on personal freedoms. Choosing to wear a protective mask is nothing less than a choice with cultural significance."4.0/5(1)

Cover of THE MIGHTY ONION AND GUINEA PIG GIRL!

THE MIGHTY ONION AND GUINEA PIG GIRL!

by some hyper\u002Drealistic bits of illustration—a partly chewed candy bar in its wrapper, a fortune cookie, a box of matches, and pages from an old fictional guide to writing comic books by the creator of Toaster Oven Man. The resulting mix is fabulously funny and engaging. Main characters read white."4.4/5(5)

Cover of THE MISSION

THE MISSION

by the Senate Intelligence Committee of the Torture Report, which described in horrible detail the interrogation methods used in the battle against al\u002DQaida. The book also describes the shocking effectiveness of Russian and Chinese cyberattacks. Weiner pegs the difference between the two foes: “China wanted to know their enemies. The Russians simply want to screw them.” Still, the CIA directed the multilateral decade\u002Dlong intelligence operations that enabled NATO and Ukraine to prepare for and react quickly to the Russian invasion in 2023. The CIA is the most studied and misunderstood of any U.S. government agency. Weiner’s book is a balanced and nuanced account that should change that."4.2/5(440)

Cover of THE MOON PRINCE

THE MOON PRINCE

by the racial slurs the white quarry manager flings at them. Their earthly society is deeply divided by race, and when they reach the moon, they find there are other ways that beings divide themselves and perpetuate inequalities. Both the illustrations and episodic plot evoke a retro storytelling aesthetic. This adventurous tale is bizarre, entertaining, and grounded in relationships: Molly searches for kindness, and Max fights to protect her. Although this is a satisfying story without the adrenaline\u002Dfilled incidents or lengthy worldbuilding that the genre often contains, there’s a mismatch between the protagonists, whose behavior feels very young, and some of the more mature content."4.0/5(3)

Cover of THE MOST UNUSUAL HAUNTING OF EDGAR LOVEJOY

THE MOST UNUSUAL HAUNTING OF EDGAR LOVEJOY

by the grotesque faces of dead people lingering on Earth since he was a little boy. He works part time for a cocktail business and a cat café, and then he goes home. It’s safer and less scary that way. When he meets Jamie Wendon\u002DDale, a genderqueer burlesque performer and haunted\u002Dhouse designer, they challenge him to step outside his comfort zone. Jamie loves their life and the pockets of comfort they have found in queer and spooky communities. Predictably, their choices cause their traditional family—their mother is a politician—to bristle. Their sister, Emma, asks Jamie to be her maid of honor (despite the very gendered term), and to step up and help out with wedding plans that coincide with Halloween—Jamie’s busiest time of year, professionally. After Edgar opens up to Jamie about seeing ghosts, he’s able to let Jamie coax him out of his comfort zone and back into the world. And when he has a panic attack at Emma’s rehearsal dinner, it emboldens Jamie to stand up for themself for the first time with their family. Edgar’s own family is only marginally less complicated. His parents aren’t really in the picture anymore, and no one really talks to the crazy aunt who sees ghosts, but his sister’s impending pregnancy might just be enough to bring their absentee brother back into Edgar and his sister’s lives. There’s as much hurt and comfort passing between Parrish’s two very likable love interests as there is scorching chemistry and hot sex. The supporting characters are well\u002Dwritten and nuanced enough to have their own spinoffs, and the book is every bit as cozy as it is steamy."3.8/5(280)

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