If you are someone who has encountered experiences in your personal life or your professional research that could not be fully explained by the mechanistic/materialistic paradigm of Euro-American science, then this book is essential reading for you (a point I will come back to toward the end of this review). It might seem impossible that the mechanistic/ materialistic philosophy of science enabled the emergence of colonialism, racism, sexism, social/economic inequality, the eco-crisis, and the climate emergency. However, Fritjof Capra's film Mindwalk (1991) (directed by his brother Bernt Amadeus's Capra) helps contextualize this wider array of concerns raised by Kubrin's book (see also Capra, F. and Toms, M., 1992). Kubrin acknowledges Capra's research in The Turning Point (1982) (not his film), saying: "Capra doesn't tell enough of his [Newton's] story" (31), correcting this with his own research. Keeping in mind that Kubrin knows his thesis sounds unbelievable, which is why he slowly and carefully unfolds this thesis in part 1 of Marxism and Witchcraft (2020, 17-121) and expands it in part 2 (124-314). It is throughout these pages Kubrin argues that our alienation from nature originates with the mechanistic/materialistic paradigm.I wish Ralph Metzner was alive to read this book because this same thesis led him to suggest his diagnostic metaphor of the human or humanist superiority complex (Metzner, 1999, 82-85). Metzner argues that the cultural and psychological consequences of the mechanistic/materialistic paradigm include the assumption of humankind's superiority over everything else, which is bolstered by the metaphysical assumption that it is our right to dominate all. This is summed up by Metzner as a "kind of pathological mind-set involving discrimination, prejudice, and domination, precisely analogous to racism, sexism, classism, and naturalism" (1999, p. 84).In part 3 of Marxism and Witchcraft, titled "All In All, You're Just Another Brick in the Wall" (331-650), Kubrin references Pink Floyd's 1979 album and song The Wall (which could be the focus of an entirely separate review or article). Kubrin writes: "Part Three of Marxism and Witchcraft will extend the analysis of how we came to be walking down the devastating ecological path we seem to have chosen, continuing to focus on the essential antagonism between the worldview of 'animism' and that of mechanism" (333). In our daily lives, we see the consequences of this concern in our increasing reliance on the "computer revolution" and Internet technology. The subtlety, precision, and depth of inquiry examined by Kubrin is not easy to summarize. And yet, expressing resistance to the computer revolution and the Internet without the fullness of this inquiry will sound like nothing more than the familiar example of people who have resisted "progress" throughout human history.