Life's Matrix by Philip Ball

Water is a chemical essential to human life and culture, and it is possibly the oddest common substance. Physicist and science writer Philip Ball describes the nature of water, both scientific and cultural, in Life’s Matrix (originally published in the United Kingdom as H2O: A Biography of Water).

Ball begins at the very beginning—the big bang. Hydrogen, the simplest atom and most abundant element in the universe, appeared early in the universe. Oxygen is forged in stars and has become the third most abundant element. There is water in space. Ice seems to be common in the far reaches of the solar system. It has been found on the moon and stars and a few molecules appear in the cooler spots on the sun.

We have found no worlds yet that have as much liquid water as ours. The water cycle has shaped Earth. Our weather comes largely from the interplay of water and energy. Even the water locked up in the ice of our poles and glaciers shape the land, influence the weather, and affect the movement of heat, water and salt in ocean currents.

Ball tackles all phases of water, including a few exotic forms that only occur in extreme conditions created in laboratories. That water exists as vapor, liquid, and solid within the fairly narrow range of temperatures that are common on Earth make it unique. This is just one of its unusual properties. The structure of the water molecule is described in the book along with the physics that explain its behavior, to the degree that such things are even known.

Our understanding of water as a compound of hydrogen and oxygen is a relatively recent thing. For a long time, water was thought of as an irreducible element. This makes sense on some level. Water is essential to life as we know it. It is irreplaceable. From the perspective of living creatures, and in almost every culture, water is a fundamental material.

In the final chapter, Ball moves away from the hard sciences to culture, economics and policy. Water of the quality needed for drinking, and even the lesser quality needed for other things, is scarce and unevenly distributed on the planet. To take a serious look at water is to be drawn to issues of health and wealth. Growing population and changing climate will put increased demands on the available fresh water, and we need to consider how we are going to manage it. Ball takes a look at some of the hot spots.

The book is intended for a broad audience. I think it is probably more accessible to someone with some education in the sciences, especially chemistry or physics, but someone had a high-school level class in these subjects they should be able to follow along.

In addition, the book is 16 years old, so necessarily out of date in some respects. I suspect that much of the physics, chemistry and biology described is still sound. Similarly, there is unlikely to be discoveries in history that would seriously outdate the book, even in the interesting section on dead ends and “pathology” in water science.

If you’re interested in this book, you may also be interested in

The Big Necessity by Rose George

The Big Thirst by Charles Fishman

Blue Revolution by Cynthia Barnett

Canals and Their Architecture by Robert Harris

Elixir by Brian Fagan

The Ghost Map by Steven Johnson

The Invention of Air by Steven Johnson

Water by Marq de Villiers

Water by Steven Solomon

When the Rivers Run Dry by Fred Pearce

Ball, Philip. Life’s Matrix: A Biography of Water. 1999. New York: Farrar, Straus and Giroux, 2000.

The Ten-Cent Plague by David Hajdu

Hajdu, David. The Ten-Cent Plague: The Great Comic-Book Scare and How it Changed America. New York: Farrar, Straus and Giroux, 2008.

Earlier this year, the last of the major comics publishers to use the Comics Code Authority dropped it in favor of their own rating standards. The seal of approval was one almost ubiquitous on newsstand comics. It lingered as sale shifted to comic book stores and older readers.

What led to the industry self-censorship represented by the little square seal is an interesting combination of social, political, and economic forces in American history. David Hajdu tells the story. (When The Ten-Cent Plague was published, major comics publishers were still using the seal.)

When comic strips first appeared in newspapers, the intent was to make the papers more appealing to the lower classes and immigrants who might not speak English, or even read. These cartoons appealed to the interest, problems and culture of this audience, along with other minorities, often thumbing their noses at the cultural establishment, the wealthy, political elites and others who had or represented power. As you might expect, the funnies had many detractors among the defenders of decent society.

This same countercultural element was transferred to comic books when they were invented in the 1930s. By the post-war years of the 1950s, the main countercultural was youth. People had been criticizing comics for their possible effects on children almost from the start, but the growing concern about juvenile delinquency (and possibly Communism) led to a successful campaign against comics. Rock and roll hadn’t been invented, so there wasn’t much else to blame.

Actually, a lot of the more reasonable explorations of the connections between comics reading and juvenile delinquency found it to be tenuous if it existed it all (delinquents read comics, but so did nearly every kid who could get an occasional dime). Detractors of comics thought they had evidence enough, especially Frederic Wertham, who’s Seduction of the Innocent added a sense of scientific respectability to the anti-comics camp.


The comics publishers reacted to save their industry from the wave of parental discontent and pending legislation. The Comics Code was a self-censorship standard like the film industries Hays Code, except much more restrictive. The code, and the forces that led up to it, almost killed the comics industry. It mostly eliminated the crime and horror comics that inspired the most ire through their excesses.

While Hajdu agrees that the crime and horror comics of the 1940s and early 1950s often had material that was unsuitable for children, he finds the roots of the anti-comics movement to be in the fundamental shift in culture between generations that occurred during the cold war. He also exhibits a lot of sympathy for the writers and artists that created comics, some of whom who left the arts altogether after the industry contracted.

Hajdu’s style is journalistic, like other works of popular history. The bibliography is extensive for those who are looking to make a study of comics. There is a touch of humor, which is bound to come up given the sometime goofy nature of comics and the ironies that abounded in the arguments both for and against the medium.

If you’re interested in this book, you may also be interested in
The Golden Age of DC Comics by Daniels, Kid and Spear
Stan Lee by Jordan Raphael and Tom Spurgeon