Blending a new theory of cognition with advice about mastering one’s own mind, engineer Thomas posits a neuronally-centered, epigenetic pattern recognition process, dubbed the xCode, as the center of human intelligence and the source of what we experience as intuition. Though grounded in some old-school evolutionary biology, Thomas’ treatment is largely philosophical, taking on topics such as free will, the nature of knowledge, and the possibility of cosmic intelligence in short chapters, alongside a brain-region centered anatomical approach. Thomas challenges readers to think of our intelligence as mediated on something of a whole-brain level rather than centered in conscious, cortical thoughts, while still urging them to lean toward the intentional when making choices.

Thomas does a good job of articulating the idea of xCode and proposing plausible biological underpinnings of this computational mechanism. However, he begins in little contemporary research in computational neurobiology, brain chemistry, or neuronal morphology, and mentions few specific studies. Instead, he leans heavily into older ideas such as the tripartite mind (Freud’s id, ego, and super-ego) and morphological-functional brain areas (such as the roles of the amygdala and claustrum), an approach somewhat at odds with the hypothesis’s emphasis on the individual neuron as a primary functional unit.

Thomas challenges orthodoxies about what we think we know about intelligence, and asks provocative questions about our understanding of memory and thinking, though readers with backgrounds in contemporary neurobiology will likely require more rigorous refinement and testing of the hypothesis before signing on to this “profound rethinking of the neuron itself.” Occasional side topics like the idea of transplanted organs holding memories run counter to the brain-centered thesis, and ideas like trusting your intuition but fighting the urges of the lizard brain sometimes seem to be in conflict. Thomas overall takes a collegial and inviting teaching tone, but doesn’t often address readers’ likely questions or objections.

Takeaway: A call to rethink what we know about thinking, rooted in philosophy and neurobiology.

Comparable Titles: Andy Clark’s Mindware, Samuel J. Gershman’s What Makes Us Smart.

Production grades
Cover: B
Design and typography: B+
Illustrations: N/A
Editing: B-
Marketing copy: B

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Rotundo creatively probes the white knight archetype through the life of writer Eris Clemens, whose relationship with her older husband, Stan, is accented by “benign marital acts of indifference,” and a parallel storyline following distinguished MIT scientist Daniel Graf and his stay-at-home partner Julianah, a “woman behind the man… always ready to serve.” Stan and Julianah’s inability to meet their partners’ needs creates a growing rift in their relationships, driving Eris and Daniel to pursue forbidden romance. “He liked his woman, but his head heavy with dreams,” Rotundo writes of Daniel, “dreams that now had a map… To her door. In his active imagination, [Eris] opened the door to new universes.”

Rotundo exposes the flawed nature of her characters as they strive for rescue from mundanity, balancing moments of humor and fantasy with deeply emotional, dramatic scenes. When the pandemic confines Rotundo’s couples to their homes, readers watch Daniel wrestle with intense longing for Eris amid a sense of duty towards Julianah, as he wonders “until when does he need to tend to this perpetual child?” Likewise, Eris fantasizes about Daniel, while Stan whispers in her ear, feeling “this immense love and devotion more like a burden.” Those longings become a catalyst, forcing Eris and Daniel to confront their deepest fears and desires while driving the realization that their attraction transcends mere romance.

As the pair defy the lockdown to be together, Rotundo trims their initial euphoria, transporting them to the harsh reality where, unlike their “fire that’s slowly burning everything around it,” their relationships with Stan and Julianah are as comfortably secure as they are routine, forcing a choice between fighting for their love or returning home to mend what’s broken. Rotundo’s descriptive passages and psychological complexities bring a rich life to this debut, offering a thought-provoking reflection on whether the rescuing is sweetest when it’s done by a hero—or by yourself.

Takeaway: Compelling reflection on desire, rich with psychological complexity.

Comparable Titles: Mona Awad’s Bunny, Camille Bordas’s The Material.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A-

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Biochemist Callaghan delves into the history of the cosmetics business—and cosmetic claims development—in hopes of demystifying an industry where, she writes, “selling hope” reigns supreme. Aimed at consumers, influencers, and journalists, Callaghan’s informative guide delivers a glimpse into the inner workings of the business, covering modern technology’s impact on cosmetic product development, ethical beauty standards, the research that goes into substantiating cosmetic claims, and more. Callaghan also confronts "fundamental questions about our relationship with cosmetics and the pursuit of beauty," with a heavy emphasis on the science driving the industry.

Callaghan’s guide is enlightening, as she addresses how to differentiate between fact and fiction and “make informed decisions about… skincare regimen[s].” Her goal with this updated edition is to “[bridge] the gap between the cosmetic Counter and the laboratory,” and she accomplishes that objective with flying colors. From a breakdown of the different types of cosmetic claims—ranging from lifestyle to ingredient to sensory—to instruction on the anatomy of skin, Callaghan’s easy-to-read text covers all the bases, teaching consumers the ins and outs of an admittedly complex business. She consistently revisits safe and ethical product development, asserting that “product development pathways have to be turned on their head and re-drawn,” and is a staunch advocate for rigorous scientific standards, arguing that “time and money to build a body of evidence has to be a first priority.”

In peeling back the layered expectations that consumers (and regulating authorities) have for the cosmetics industry, Callaghan offers readers a refreshing backstage pass to creating a successful —and safe—cosmetic product and campaign. She covers the history of cosmetics (dating back to Ancient Rome), the four main culprits of misinformation in the field (influencers, consumers, journalists, and the industry itself), and offers readers a slew of valuable resources, all in hopes of helping consumers clarify their “actual and uniquely individual skin needs.”

Takeaway: Inside track on the complex world of cosmetics production.

Comparable Titles: Martha Laham's Made Up, Mary Lisa Gavenas's Color Stories.

Production grades
Cover: C+
Design and typography: B+
Illustrations: B-
Editing: B
Marketing copy: A

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Seeley (author of McHorn and His Hidden Spots) crafts a visually lush alphabet picture book featuring the poetic Shadow, a cosmic entity who uses his magical, starlit shadowboxes to teach young readers their ABC’s. Each shadowbox features one letter of the English alphabet and a mix of people, objects, and hidden words that begin with that letter—a mishmash of beautifully illustrated, letter-centered fun. “Leaves and a ladybug start with an L,” Shadow intones, later encouraging readers to “look for lemons and limes” on that page, while at the bottom edge, he sits on his windowsill in front of a twinkling night sky, licking a lollipop.

Though the alliterative poems are only a few stanzas long, Seeley’s pages teem with letter-related excitement. Each poem is bordered with “Look For” guides, instructing readers on concealed words to search for in that poem’s related shadowbox—an interactive activity that kids and the adults reading to them will treasure working on together. Seeley’s hidden words open up a whole new world of learning, featuring terms that many young readers may not yet know: in the shadowbox for the letter “I,” the picture of an island features the word “icon” shimmering in the water, while “idol” is barely visible in the background of Seeley’s iris portrait. At the end of each poem, Shadow asks readers to find a special item hidden in plain sight (“can you find my drum?” he queries on the page for “D”), increasing the entertainment value for young readers experiencing the newfound joy of language.

Seeley’s illustrations exude a vintage feel with a touch of surrealism, and most of the book’s inanimate objects—eggs, balls of yarn, seashells—feature endearing human faces. The distinctive art and poetry combine to create a multilayered, engaging picture book—one that young readers will likely revisit many times over.

Takeaway: Gorgeously illustrated alphabet book teeming with interactive activities.

Comparable Titles: Neil Gaiman’s The Dangerous Alphabet, Oliver Jeffers’s Once Upon an Alphabet.

Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A

Click here for more about The Search & Find World of SHADOWBOXES