This is a superb book for any practitioner working in primary care. It covers all important subjects completely and concisely. I used it to review for my boards with the review book that goes with it and I was very prepared. I highly recommend this text.

I found this review book an excellent source of knowledge and simple to understand. This book by passes all the intricate biochemical details and present the meat and potatoes so to speak. The wisdom of the pearls make this book unique. I recommend this book to any professional in a primary care setting.

This is the most comprehensive and concise medical text that I have ever used....so reader friendly. It has over 70 contributors from all over the country.

When I was very small, I was terrified every time I got onto an airplane: how could something so large possibly lift off the ground? Like most of the rest of us, though, I have gradually lost that fear- I simply look forward to the peanuts and trust in the engineeers, who are capable of designing things I could never possibly understand.
Reading John Hulls' book recaptured for me a sense of that wonder in the awesome feat of flying. Cody and the Wright brothers became more than just clever engineers, they were ingenious and daring pioneers who put their own lives on the line, rising hundreds of feet in the air supported by nothing more than bamboo and canvas. Cody's madcap adventures (cow hand, gold miner, variety show creator, Royal Aeronotical Society member, etc..) would make a wild story in any age, but are particularly resonant on the brink of the centennial of flight.
Hulls' book, though aimed at children, is informative and interesting for anyone fascinated by flying and the art of invention. Here is a simple story well told: the writing is clear and evocative, the characters come alive on the page, and once again history is a story worth telling.

Herding cattle up the Chisholm Trail from Texas to the Kansas railheads for shipment, young Samuel Cody became fascinated with the kites built by the chuck wagon's Chinese cook. The cook taught Cody kite building, starting the young cowhand on an odyssey that would take him to the Klondyke gold rush, then to the London stage with his KLONDYKE NUGGET, to full fellowship in the Royal Aeronatical Society and simultaneous birthing of the British aircraft industry.
The show's success, with roles for all his family, enabled Cody to indulge his kite habit on a grand scale, shown in the book's many fine photos. In 1901 they built the first practical man-carrying kite (woman-carrying, too--Lela shown in a photo aloft in formal hat and long dress, the first woman to fly in a heavier-than-air craft). The Royal Navy and then the Army bought Cody's kites, leading Cody to friendship with Colonel Capper, a British army officer ostensibly developing balloons for artillery observation but actually harboring visions of flight.
Cody and Capper collaborated in leading England into the age of flight. They buzzed Buckingham Palace and the War Office with their powered airship, then developed a hang-glider kite, finally "Army Airplane #1." Capper, who knew the Wrights, risked his career in supporting Cody but Cody went on to repeated triumphs, winning the first British military aircraft trials in 1912. The very next year Cody died tragically in an aircraft accident. The British army buried him with full military honours after a procession attended by 50,000 mourners representing every British army regiment.
Pilots who write about flying often evoke magic. Hulls writes with the clarity and humour of St. Exupery, Gann, Bach and the handful of pilots whose love of flight becomes literature. The chapter "Flyers and Liars" captures the risk of early flight and the achievements of the Wrights and Cody, quoting the 1906 NEW YORK HERALD: "Despite extravagant claims, history would show that by 1908 only five humans had acquired significant time flying heavier-than-air machines. Two were dead--Otto Lilienthal and Percy Pilcher, a Scots engineer who had studied with him, died in flying accidents." Cody and the Wrights were the only ones with more than brief seconds in heavier-than-air flight. In all the other claims, no one knew enough to ask the key question: "How did you learn to fly?"
Coupled with illustrator David Weitzman's illustrations of what it took to learn even to make a simple turn, Hulls depicts the Wrights' and Cody's bravery and brilliance as they risked death to master flight. Among Cody's inventions: the variable-pitch propeller, whose efficiency Cody tested by tethering his airplane to a tree at Farnborough (a flight-test locale that became, decades earlier, the British equivalent of Edwards AFB). When the tree died recently, the RAE honored Cody by recreating the tree in aluminium on its original site.
While directed at younger readers, "Rider" is a wonderful book for anyone of any age interested in great American characters such as Cody and the Wrights, a must for pilots or indeed anyone with a love of flight or who today flies safely in a modern airliner.

When I first stumbled onto this impressive book in the store, I could not put it down! John Cody's paintings are masterful. They are full of the most delicate brilliant colors and light. Page after page features the loveliest images of these wonderful creatures from around the World. Attention to detail is second to none, his accurate and perceptive portrayals demonstrate an intimate knowledge of these ethereal insects in a spectacular fashion.
My brothers and I avidly collected these moths at night, in the rural North Carolina mountains. It was thrilling to see them dart around the street lamps like fiery jewels. Unfortunately, most books on this subject feature photos of pinned, faded samples. I've always felt it was a shame people couldn't experience their enchanting magic like we did. John Cody's book does that.

The paintings by John Cody are wonderfully realistic, lively portrayals of some of our most beautiful insects. The moths are not shown pinned but in flight or real poses with real and appropriate plants and flowers. A must for any admirer of Lepidoptera!

AFTER GREAT PAIN : The Inner life of Emily Dickinson. By John Cody. 538 pp. Cambridge, Massachusetts : The Belknap Press of Harvard University Press, 1971. SBN 674-00878-2 (hbk.)

This book is a fascinating psychoanalytic reading of ED's tortured life, by a professional psychiatrist who devoted seven years to it, and is unsparing of the falsifications indulged in by most of her biographers and critics. ED cultists, in particular, loathe the book (always a good sign) because it gives us a very human and very tormented Emily Dickinson, a woman starved for love who had serious psychological problems which retarded her emotional development, and who almost certainly suffered a nervous breakdown as a result.

Why any of this should disturb the open-minded I have no idea. The Dickinson household was certainly a very strange and abnormal place, and the Dickinson children had a far from normal upbringing. The aloofness of the father, his inability to show love or warmth and relate in a normal fashion to his children, would have a devastating effect on any child.

The arguments I have seen against Cody have been very weak, though proof of the rightness of his thesis is very strong. It runs all through the poems and has been analyzed in great detail by Camille Paglia in Chapter 24 of her _Sexual Personae_ 'Amherst's Madame de Sade : Emily Dickinson' (pp.623-74).

The poems Paglia quotes are authentic Dickinson poems. No matter how much worshippers at the shrine of their 'Saint Emily' would like to wish them away, they will not go away. Also, they have meaning.

My advice would be to read both Cody and Paglia. They're both fascinating writers, they both know what they're talking about, and I think that what they say helps us to understand aspects of both Dickinson and many of the poems she wrote.

Emily Dickinson was a very complex figure, and everyone tries to claim her for their camp - Cultists, Christians, Psychiatrists, Sadeians, etc., - but I guess the truth is that, although there's a certain amount of truth in all these positions, Emily Dickinson is just too big to be contained. She bursts free of all categories. Like her poems she explodes into a multiplicity of meanings, perhaps because, like them she wasn't about something, but about everything.

The poses in this book are indeed very dynamic and interesting but the one MAJOR draw-back is that they are all with the models laying down on the ground. Definitely not a very practical figure reference book for an illustrator like myself. I mean lets be honest, how many times are you going to be drawing a figure contorted on the ground verses standing and engaged in some sort of action. It may, however, be possible too adapt some of the poses for a standing position and yet gravity affects the body completely differently when it is horizontal instead of vertical. The photographs themselves are very poor in terms of quality in that they are: muddy, bad resolution, slighty out of focus, badly lit etc. etc. etc. Basically this was a very disappointing purchase. The "Fairburn System" series is far better than this book for photographic figure reference material; however, very hard to find.

I have been using Mark Edward Smith's two excellent photographic references as a source for practicing figure drawing over the last year or so. I was a bit hesitant to buy this book - afraid that it might just be duplicating what I already have - but once it arrived in the mail I was really glad that I did. The quality of the photography is *fantastic* and it's printed on a glossy stock which preserves the halftones and detail which unfortunately sometimes get 'washed out' in Smith's books.

The range of poses is great too - from some very classical poses to some really "out-there" angles and poses which border on contortionism. Some of the most beautiful poses in this book are ones which a live model couldn't hold for more than 2-5 minutes, so having it captured on paper is a real bonus. All in all, I wuold say that the combination of poses and camera angles provides a fantastic reference work for studying the muscles of the body in various states of tension and compression.
I think I'm going to be spending lot of time drawing from this book.

This book like It's title clearly indicates is not an illustration reference book.It's extremely useful to students and practitioners of the fine art of figure drawing ,it provides poses which are very diffrent from what we are used to seeing in normal life thus forcing us to see how many familiar shapes change when viewed at an unfamiliar angle,for a figure artist struggling with foreshortening a book like this one and Burne Hogarths Dynamic Figure Drawing used in tandem could work wonders.This is the only book of its kind and is in one word "BRILLIANT" .

A fair sized book, it's unique in the sense that the male model has the relevant muscles and tendons actually drawn on his body. Nice concept but I don't think it really helps. Because the muscles are tendons and the skin is, well, skin, it stretches as a mass and not as fibers. I think the poses are useful though, good lighting to show muscle definition and tone and decent-sized photographs too.

This book is useful for artists such as painters and sculptors trying to accurately represent a muscular male body in different poses (like greek sculptures - Atlas, The Thinker, etc). Every page shows the model in a different position comparing the same pose in the "buff" with and without the painted muscles.

This book is extremely useful for anyone trying to master the interplay of muscle as it affects surface form