Thus she discusses in her book not only scientific articles but also advertisements, science fiction and painting. Unique in this book is her collaboration with artist Lynn Randolph. Every chapter begins with an image of one of Randolph's paintings, paintings which she made using Haraway's ideas as inspiration. An interesting attempt at initiating a discourse between art and technoculture, but the way in which Haraway discusses the paintings makes every art lover's toes curl. While elsewhere she pleads for multiple meanings and ambiguity in regard to telling stories, here she leaves nothing to the imagination, supplying every image with a lengthy text and explanation.
Art degenerates to a puzzle which has to be solved.
Haraway's work is celebrated and decried. She is read by a broad audience, ranging from feminists and technophiles to academics and science fiction fans. Gross and Levitt, authors of the controversial book Higher Superstition, called Haraway a 'liar' and grouped her with the 'leftists,' the group of leftist intellectuals who, according to them, lean too heavily on the ideal of political correctness. Most of Haraway's critics, however, don't take note of her radical politics, but instead take aim at her complex narrative technique. Reading Haraway is never a smooth autobahn, said an American review.