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About WE WANT THEM INFECTED:
The book is a forensic analysis of the contrarians’ erroneous assumptions of safety and the damage done during a pandemic. Whilst spouting what should happen and what will happen, contrarians completely misinterpreted, downplayed, and distorted what was happening. They spouted frequent predictions of imminent herd immunity that never came. They forecasted underestimates of the mortality and from behind a desk suggested over intubation was an issue. These error-rich, self-promoting activists through their various platforms advocated that adults should be protected via an infect-the-children strategy. Unfortunately for both children and parents the hazards were real; they did get sick, they did spread the virus, and some are still paying the price. Howard kept the receipts. The distorted contrarians’ views of the situation are presented alongside the reality. The 27 reasons to not vaccinate children are scientifically dismantled. The consequences of this erroneous propagation on people compared to the contrarians is unjust.I thought the real pandemic error was getting the Mode of Transmission wrong. The evidence in this book is that the contrarians did as much damage with their erroneous assumptions of safety. Although they will never admit, apologise, nor remedy, one can only hope that registration authorities will consider action necessary.“This book is fundamentally about the obligations doctors [and nurses] have when communicating with the public [and colleagues] about a deadly virus.” I would also add and the obligations of these healthcare workers to correct erroneous statements.
Dr. Howard breaks down how certain medical community and public health professionals simply let the United States public down. Probably responsible for hundreds of thousands of Americans not making it through the pandemic.He tells the story, names the folks and brings the receipts with about 200 pages of footnotes.An amazing opportunity for readers to learn about vaccines and the price of disinformation.
The photographs in First Season remind me a bit of Edward Weston’s photographs of the Southwest in their search for the iconic through a clean, unvarnished modernism. Whereas Weston would have always dipped toward abstraction, Clayton grounds his images in a reverence for the South, especially the Appalachian South. The remembrance of decay on the land, the oddball moments within small town fairs. But always present the keen observation of light and shadow on the land, and how it animates our desires. I think the subject of these photographs may be the key to this collaboration, a kind of sympathy, almost eulogy for transient gesture, character, and light.
—Michael Loderstedt, Professor Emeritus, Kent State University School of Art
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