51 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of sexual stimulation and response.
The history of sex research provides a crucial backdrop for Bonk, illuminating how social, moral, and political forces have shaped the study of human sexuality. Before the 20th century, discussions of sexual behavior were confined to moral theology and medicine, often rooted in shame or pathology. Alfred Kinsey’s studies in the 1940s and 1950s marked the first major attempt to quantify sexual experience through data rather than moral judgment, revealing the diversity and frequency of sexual behaviors across American life. His methods and findings shocked a society steeped in postwar conservatism, initiating decades of debate over the boundaries of privacy, morality, and science. Kinsey’s studies, largely based on interviews with people from many walks of life, revealed that sexual practices such as sex before marriage, gay sex, and masturbation were much more common than society wished to acknowledge.
Following Kinsey, William Masters and Virginia Johnson revolutionized the field by directly observing physiological responses during sex, introducing empirical data into what had long been speculative territory. Their research legitimized sexual science but also reflected its time: Gender roles and cultural biases continued to color interpretation, and heterosexual intercourse was often treated as the standard. Masters and Johnson’s research showed demystified sexual response (and sexual dysfunction), clearly showing the involvement of both physiological and psychological factors. Later figures, such as Ahmed Shafik, extended these inquiries under far more restrictive political and religious conditions, illustrating the risks of studying sex outside liberal Western frameworks.
By embedding these historical figures in her narrative, Roach presents Bonk as a work of both homage and critique. She acknowledges their courage and ingenuity while highlighting the enduring challenges of researching desire: ethical consent, gender representation, and public perception. Her contemporary perspective allows her to revisit this history without the restrictions that once constrained it. The book thus bridges eras, connecting the curiosity-driven empiricism of mid-century pioneers with modern interdisciplinary approaches that draw on neuroscience and psychology.
From a literary standpoint, Bonk belongs to a growing genre of narrative nonfiction that blends journalism, memoir, and science writing. To appreciate the book, readers must understand both Roach’s background as a popular science writer and the evolving social attitudes toward sexuality that frame her work. Her authorial style is candid and reflects her curiosity and humor, building on a literary tradition of popular science writers like Oliver Sacks and Malcolm Gladwell, who translate specialized research into engaging narratives for general audiences. However, Roach’s subject matter distinguishes her: She approaches one of humanity’s oldest taboos with a blend of irreverence and intellectual rigor, inviting readers to see sex as a subject for careful, curious study rather than scandal.
By the time Bonk was published, Western societies had undergone several waves of sexual revolution—from the Kinsey Reports and Masters and Johnson’s laboratory studies in the mid-20th century to the feminist and LGBTQ+ movements, which challenged heteronormative frameworks of desire. However, public discomfort with sexual science persisted. Roach’s approach offers one response to this discomfort: She presents sexual research as an act of curiosity and care rather than deviance or sensationalism. Her inclusion of global perspectives (especially in recounting Ahmed Shafik’s clandestine experiments in Egypt) reveals how cultural context shapes what questions can be asked, and by whom.
Roach’s authorial presence helps humanize the subject. Her decision to volunteer for some of the studies she describes blurs the boundary between researcher and participant, reinforcing her point that science and sexuality both depend on vulnerability and openness. In a broader cultural sense, Bonk is part of a wider trend in science writing that brings specialized research to general audiences, transforming technical information into accessible storytelling and encouraging readers to rethink their cultural inhibitions. Through humor and empathy, Roach normalizes curiosity about sex, treating it as a valid part of human understanding rather than a purely private embarrassment.
Roach’s rhetorical strategy relies on juxtaposition: She pairs clinical description with comic relief, turning potentially awkward material into approachable reading. Her voice functions as both a guide and a participant, modeling curiosity while defusing discomfort. This technique allows her to engage with serious scientific material (and comment on laboratory ethics, medical technology, and global inequity) without alienating readers who might recoil from explicit subject matter. In addition, Roach uses irony as a tool of cultural critique. By treating the absurdities of research (polyester pants on rats, phallometric devices, and “arousometers”) with straight-faced seriousness, she reveals how human sexuality defies attempts at full rationalization. Her humor serves a dual purpose: It entertains while showing how discomfort and moral anxiety still shape scientific inquiry. In this way, Bonk works both as a piece of popular science education and as a gentle critique of the boundaries that limit open discussion.
As a work of narrative nonfiction, Bonk fits within a line of modern science writing that prioritizes accessibility over academic precision. It acknowledges the “messiness” of discovery, using storytelling to connect empirical detail with emotional experience. The text both informs and lowers the emotional stakes of talking about sex, inviting humor into topics that are often left unspoken. Through this balance, Roach offers a sustained examination of sexual pleasure and curiosity without losing sight of the underlying science.



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