Nowadays, it is not a difficult task to find a literary source that may capture the reader’s attention in several seconds. However, the worth and quality of such sources cannot be checked and proved the same easy way. Recently, I got a chance to read a book by Lauren Redniss, Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout. This nonfiction work retells a story of the life of one famous physicist and chemist, Marie Curie, and her husband, Pierre. Its peculiar feature is a number of pictures, images, photos, and collages supporting the text. Redniss’ decision to use her artwork in the nonfiction book is a powerful idea that helps to enhance reading, replace ordinary words with a kind of visual journey that opens a new world to the lives of Marie and Pierre Curie, and prove that sometimes one picture may be more effective than many, even the smartest, words. One of the most noticeable peculiarities of Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout is the author’s ability to enhance reading by means of an artwork chosen. At the very beginning, it seems to be very easy and, what is more important, interesting to read the book and learn more interesting facts from the life of this amazing woman. It is hard to believe that a simple biography and the narration of the scientific achievements alongside images may influence the reading process. At the same time, it is necessary to admit that the majority of the words chosen by the author play an important role in the understanding of the story. For example, Redniss describes Marie’s attitude to the surroundings: “I have fallen into black melancholy… our daily companions are dreadful west winds, with embellishments of rain, flood, and mud…” (19). Though this description does not seem to be nonfictional, it is still considerably improved by a simple black-and-white artwork on the page. In this particular example, as well as in several cases, Redniss does not want to use her artwork just to fill in the story or replace language. The use of this technique may be better explained as a desire to inspire creativity, capture attention, and wake enthusiasm. Sometimes, Redniss seems to be eager to use her artwork in order to replace language or avoid the necessity to search for some words in the situations, when they are not necessary. For example, the situation when “the physicist was struck by a horse-drawn carriage crossing the Pont Neuf” (Redniss 96) is expected to be improved by some pictures. The use of such technique affects the reading of a nonfiction book in a variety of ways. First, the reader is able to see that the author has certain feelings and emotions in regards to the death of one of the main characters. Second, it is clear that Redniss has her own vision of death and its effects on human life. The image of the horse on a dark blue background symbolizes a kind of a death’s messenger that is expected and cannot be avoided. Finally, in her book, Redniss wants to prove the effectiveness of her artwork by means of considerable shifts from black-and-white illustrations to colorful images. However, telling the truth, not every reader can mention the shift when it was used for the first time. For example, I did not pay much attention to this shift at first. When I came to the period when their first daughter, Irene, “a six-pound baby girl” (Redni