What is it like to be a heavily tattooed woman in contemporary America? Bringing a keen sociological eye with a symbolic interaction approach, Covered in Ink draws on interviews with 65 women to attend to this expansive question. With recognition that tattoos have become increasingly popular, this monograph traces the way in which a history of stigma combines with gender propriety policing in relation to the everyday lives of extensively tattooed women and/or women tattooists. The book is premised on a distinction of heavy tattooing as opposed to that which is lighter, in terms of design, bodily location and/or extent of coverage. ‘Crossing the line’ to heavy tattooing and the degree of subsequent social sanctioning often experienced by women are mentioned in the introduction chapter. Here, Yuen Thompson opens up about her own history of acquiring tattoos and negotiating their multi-faceted presence. In doing so, a number of themes are signposted to which Covered in Ink addresses, namely how and why some kinds of tattoo presence can be physically and socially transformative for their female owners/wearers. Covered in Ink both draws on a number of insights from previous literature, on tattooing generally and tattooed women specifically, whilst building on these with fascinating and insightful discussions. The first thematic chapter provides context to the lingering stigma around tattoos whilst chapter 2 addresses why this is particularly of concern for tattooed women. The book is attentive to different social relationships and spaces – ranging from the interactions and responses of family members, romantic partners, work colleagues/customers in the workplace (which may be fellow tattooists), and members of the general public encountered in various locations. The visibility of the body and way in which tattoos are (mis)read is explored by Yuen Thompson who acknowledges the tendency for ‘non-tattooed individuals […] [to] assume that ink is acquired specifically for the attention’ (p. 151). Clearly, as Covered in Ink demonstrates, naïve ignorance by non-tattooed others does not warrant disapproving comments, glares, invasive questioning, dismissal from employment, avoidance or unwanted touch/grabbing. Yet, as becomes apparent, such stigmatising treatment in various forms are remarkably repetitive occurrences across the experiences of the women interviewed, many of whom develop particular covering-up strategies and stock answers in response. Responding to such a broad question about the social lives of heavily tattooed women, the book covers a great deal yet it is inevitably unable to cover everything. The author recognises that there are omissions, including that more attention could have been paid to the nuances of racial difference in heavily tattooed women's experiences. Another aspect which I was surprised to find absent was that of ‘alternative’ beauty modelling and, relatedly, the success of websites/brands such as SuicideGirls. Nonetheless, there are tenets of this discussion within the book which could be drawn together for this purpose. For example, the book includes chapters on beauty culture and work place interactions, photographs of professional models and a Miss Tattoo pageant, a recounted story from one participant at a car show, and recognition of the sexualised imagery of women in tattoo magazines. There remain such fascinating discussions yet to be drawn out from the themes of the book. However, I do not see this as a weakness but rather it points to the richness of the topics addressed. Covered in Ink is full of seeds for future consideration – for example, my fascination was sparked by the brief comments on similarities regarding the public scrutiny and uninvited touch of pregnant women akin to that of heavily tattooed women. One avenue for future research would be to explore how these two embodiments might be simultaneously lived. What are the experiences of pregnant heavily tattooed women and how do they negotiate an array of possible meanings read from, and imposed upon, their bodies? Whilst this book will certainly be of particular interest to body modification scholars, especially those approaching the topic from a feminist angle, it speaks to a range of broader themes and audiences. The empirical context of heavily tattooed women's lives and classic sociological theories are brought together to reflect on one another in Covered in Ink, making it of interest to those in sociology, criminology, law, anthropology and, as I myself identify, social geography. In addition, Covered in Ink has important messages for those outside of academia – whether these are employers, established tattooists, tattooed peers, and/or the general public regarding the supportive and respectful treatment of heavily tattooed women. The final chapter and conclusion outlines a ‘tattoo etiquette’ which, if heeded, would ease the economic, social, emotional, and psychological difficulties that many such women encounter, anticipate and navigate in their lives.