A powerful meditation on life, death, and sorting out what can be saved of death in life.
An anthropologist recounts sifting through the remains left by horrific crimes in Guatemala and Argentina.
There have been numerous books on forensic anthropology in the last two decades, when DNA studies and other techniques have been refined for field and laboratory studies of crime. Clea Koff’s The Bone Woman, for instance, describes research in Rwanda, Bosnia, and other killing fields. Hagerty’s first book fits neatly in this tradition, distinguishing itself from other entries by its musings on the nature of political violence. The governor of Buenos Aires Province put it most graphically in the days of the military dictatorship: “First we will kill all of the subversives, then we will kill all of their collaborators, then those who sympathize with subversives, then we will kill those that remain indifferent, and finally we will kill the timid.” Fortunately, the regime collapsed before his vision could be realized; unfortunately, many thousands of Argentinian citizens died, and Hagerty has worked diligently to identify them. The bloodbath was even worse in Guatemala, where, “in a country of eight million people, there were 200,000 dead” after years of government massacres meant to suppress civil unrest. As Hagerty uncovers mass graves and crawls into burial pits and remote caves full of bones, she reflects on the nature of her work, particularly how difficult it is to isolate single victims in a jumble of remains. “The excavation is three-dimensional, sculptural, a Rubik’s Cube,” she writes. Things become more clinical and even less human while cutting away pieces of bone in order to study the DNA, a reliable means of connecting a body to a name—“and with a name, a body can be given a proper burial.” Hagerty is soulful but unsentimental, and she closes with just the right conundrum: With so much knowledge of horrific crimes, how can one return to “the manicured lawns and temperature-controlled archives of the university”?
A powerful meditation on life, death, and sorting out what can be saved of death in life.Pub Date: March 14, 2023
ISBN: 9780593443132
Page Count: 320
Publisher: Crown
Review Posted Online: Dec. 22, 2022
Kirkus Reviews Issue: Jan. 15, 2023
Alternately admiring and critical, unvarnished, and a closely detailed account of a troubled innovator.
A warts-and-all portrait of the famed techno-entrepreneur—and the warts are nearly beyond counting.
To call Elon Musk (b. 1971) “mercurial” is to undervalue the term; to call him a genius is incorrect. Instead, Musk has a gift for leveraging the genius of others in order to make things work. When they don’t, writes eminent biographer Isaacson, it’s because the notoriously headstrong Musk is so sure of himself that he charges ahead against the advice of others: “He does not like to share power.” In this sharp-edged biography, the author likens Musk to an earlier biographical subject, Steve Jobs. Given Musk’s recent political turn, born of the me-first libertarianism of the very rich, however, Henry Ford also comes to mind. What emerges clearly is that Musk, who may or may not have Asperger’s syndrome (“Empathy did not come naturally”), has nurtured several obsessions for years, apart from a passion for the letter X as both a brand and personal name. He firmly believes that “all requirements should be treated as recommendations”; that it is his destiny to make humankind a multi-planetary civilization through innovations in space travel; that government is generally an impediment and that “the thought police are gaining power”; and that “a maniacal sense of urgency” should guide his businesses. That need for speed has led to undeniable successes in beating schedules and competitors, but it has also wrought disaster: One of the most telling anecdotes in the book concerns Musk’s “demon mode” order to relocate thousands of Twitter servers from Sacramento to Portland at breakneck speed, which trashed big parts of the system for months. To judge by Isaacson’s account, that may have been by design, for Musk’s idea of creative destruction seems to mean mostly chaos.
Alternately admiring and critical, unvarnished, and a closely detailed account of a troubled innovator.Pub Date: Sept. 12, 2023
ISBN: 9781982181284
Page Count: 688
Publisher: Simon & Schuster
Review Posted Online: Sept. 12, 2023
Kirkus Reviews Issue: Oct. 15, 2023
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A fierce, penetrating, and empowering call for change.
Artist and activist Vaid-Menon demonstrates how the normativity of the gender binary represses creativity and inflicts physical and emotional violence.
The author, whose parents emigrated from India, writes about how enforcement of the gender binary begins before birth and affects people in all stages of life, with people of color being especially vulnerable due to Western conceptions of gender as binary. Gender assignments create a narrative for how a person should behave, what they are allowed to like or wear, and how they express themself. Punishment of nonconformity leads to an inseparable link between gender and shame. Vaid-Menon challenges familiar arguments against gender nonconformity, breaking them down into four categories—dismissal, inconvenience, biology, and the slippery slope (fear of the consequences of acceptance). Headers in bold font create an accessible navigation experience from one analysis to the next. The prose maintains a conversational tone that feels as intimate and vulnerable as talking with a best friend. At the same time, the author's turns of phrase in moments of deep insight ring with precision and poetry. In one reflection, they write, “the most lethal part of the human body is not the fist; it is the eye. What people see and how people see it has everything to do with power.” While this short essay speaks honestly of pain and injustice, it concludes with encouragement and an invitation into a future that celebrates transformation.
A fierce, penetrating, and empowering call for change. (writing prompt) (Nonfiction. 14-adult)Pub Date: June 2, 2020
ISBN: 978-0-593-09465-5
Page Count: 64
Publisher: Penguin Workshop
Review Posted Online: March 14, 2020
Kirkus Reviews Issue: April 1, 2020
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