In an excellent essay in Zooicide: Seeing Cruelty, Demanding Abolition (AK Press; 2018), Stephen Eisenman describes zooicide as a history of cruelty to animals in zoos. “Animals were thus robbed of their souls and their social being;” he writes, “they symbolized nothing but their biological selves-their genus and species-and were exhibited as entertainments or trophies in zoos all over the world.” This book is an essential read on the grounds of Eisenman’s important essay alone; however, this is principally a volume of Sue Coe’s art illustrating her understanding of zooicide and her interpretation of the lives of animals behind bars. Her insight, vision, and compassion visible in her art are what makes this book outstanding. On her visits to zoos she recalls, “Standing drawing the prisoners in a sea of cell phones and baby carriages. The living props for human entertainment rarely making eye contact.” She recalls observing Cleo in Syracuse zoo, New York, an octopus in her “tank prison”, and apologizes to her while dedicating the book to her. Coe’s “Reflection” shows Cleo in the foreground with the artist sketching in her notebook reflected in the glass beyond her. Other works illustrate animals working in circuses in the past–“Circus Train Wreck” depicts the 1893 train crash in Pennsylvania killing 50 horses and harming tigers, lions, zebras, elephants, and a gorilla–and in the present–animals trapped in cages in such war-ravaged cities as Belgrade zoo in 1999 when a rhino is “driven mad by night bombing [and] smashes her head against a wall until she dies.” Eisenman is correct to say that Coe’s work comprises of “Sunshine and shadow, deep gloom and sudden illumination, and half-light–that in-between that can trigger feelings of anxiety or even terror”. This work requires resolve on behalf of the observer but seeing truth often does.