Not what I expected. This book is more philosophical, than literal. I like it, but it's like reading a lot of proverbs, you cannot absorb it all, only the few that strike you at that moment.

If you want a step by step, how to make film book, you're better off browsing the bookstore at your local film school.

If you are a novice filmmaker, and you want to make art with film or video, and you want a guidebook on how to THINK and FEEL about your chosen art form, this is a must.

Bresson inspired the French New Wave filmmakers, and in my opinion was one of the few directors this world has seen who actually considered the particular reality of the moving image and created a set of principles to guide his choices as a director based on the medium itself, and not on any inherited traditional technique. One of the primary divisions in film theory is whether you believe film to be an extension of theatre or something entirely different.

For Bresson theatre is a more intellectual, mind based experience, whereas film is an EXPERIENTIAL art form. Bresson was highly interest in TRUTH over the APPEARANCE of truth. For Bresson the camera and audio recorder capture the essence of a thing, and therefore he cautions against using actors, and sets, and instead suggests people being themselves and shooting on actual locations.

This book is actually a collection of notes that Bresson wrote to himself over the course of his career. It is a wonderful look into the mind of an artist. In this book I have found a kindred spirit, whose insights into the nature of film and film production are distilled down to their essential forms. What kind of Truth does the camera capture, what elements go in the mise-en-scene which add or distort that truth, how do you illicit the inner truth of the actor (model) while still maintaining the requirements of the plot and script?

There are two books which have, for me, opened up the truest possibilities of film as an artform. These books are: "Notes on the Cinematographer" by Bresson, and "Sculpting in Time" by Tarkovsky. These books are a must read for anyone interested in exploring the true potential of film as an art form.

Also, this book goes in and out of print fairly regularly, so you should buy it whenever you see it being sold. Its relatively inexpensive, but contains a wealth of knowledge. It makes a great gift for someone interested in film or video as an art form.

"Notes on the Cinematographer" is a tidy, Zen-like summation of the special aesthetic Bresson brought to film. 'Cinema' to him was simply filmed theater. He wanted movies to do something more, to create a new language of images that could express a character's inner states and moods (I think this goal, more than anything, explains why he's so often labeled a 'spiritual' director). Bresson wanted faces, not actors; events, not scenes; "BEING instead of SEEMING." To this end he insisted on amateurs over trained actors, noises over music, slowness and close-ups over speed and pans. Cinematography as Bresson explains it here is a unique form of writing. His efforts to make an essentially mechanical & visual medium parallel the inwardness of the written word has to be one of the strangest and most fascinating projects in the history of film. Not surprisingly, he writes beautifully, and these aphoristic koans, surrounded by all that empty white space, are as haunting as anything he captured on film. A tiny masterpiece.

I started reading Griffin's novel under the shadow of Patrick O'Brian, which probably isn't quite fair, but I did anyway- it would be hard not to. Amazingly, this book stands on its own. While there are no Jack Aubrey or Stephen Maturin characters, Griffin manages to create his own memorable cast that do not even try and replace our swashbuckling favorites. William Williams, Captain Roberts and Innocent are all worth remembering. If it were not for the 60 year time difference (Aubrey not yet born), it would be easy to imagine the HMS Surprise chasing these pirates across the atlantic. They are really that well written.

The story itself is not overtly complicated: the basic pirate story with a few twists, and well written. Williams, the ship's fiddler and makeshift crew member, is the novel's main protagonist and view piont. He is pressed into service aboard Captain Roberts' ship from one of His Majesty's Ships. I have been used to the British Navy triumphant in literature and this served to give some flesh to an unnoticed historical period, when the high seas were not so lawful. With Williams slowly becoming more and more involved in the pirate's lives, they have a series of adventures in search of the galleon treasure ship Julliete. There is some good adventure; however, the dark nature of the violence in this novel can be disturbing. I do not believe that this is a weak point, for Griffin does it tastefully and it works with the story / characters. Just beware and don't give the book to a Middle Schooler for their birthday (yet, wait a few years).

Apparently Captain Roberts was a real pirate, and according to Griffin perhaps the most successful of all time, capturing over 400 ships in under four years. Knowing that makes the book much better. The simplicity of the plot makes more sense if Griffin was following the example of historical texts.

Everything considered, I think this is a very good book. I really enjoyed reading it once, but unlike O'Brian's masterpieces I will probably not read it again. I will look forward to future novels by this new author. Once you are finished reading this, and if you enjoyed it, I highly recommend the novel _Master_and_Commander_.

This book took me to a world of piracy on the high seas that I probably had never thought I'd revisit after Treasure Island. While not exactly a page burner, it is worth the read. Nicholas Griffin gives a enough sense of day to day reality to the characters that makes you connect with what it must have been like to lead these lives. The historical detail and research give a great air of authenticity to the story.

The great challenge is how do you make a reader identify with a group of people who steal and murder for a living? The most interesting character for me was Innocent, the Yoruban black convert to an African brand of Christianity, who comes across as half savage, half mystic. Even the Captain Bartholomew Roberts' fear of the Almighty lent a spice of philosophic reality to what otherwise could have been a very two-dimensional character. Griffin lets us in enough on these inner lives to engage us with the characters.

The reversal at the end was for me an unexpected though intriguing finish with the motives of Phineas Bunch, the cabin boy, who is introduced by the second page, seems a minor character, and yet plays a key role. I won't spoil that surprise! It's a good pirate puzzle piece.

I recommend this book as a good read. It is satisfying as an adventure, as a historical snapshot of the period, written with enough twists and turns to make you enjoy the voyage.

Mr. Griffin is a talented new Author who is likely to produce many more fine tales, be they historically based or pure fiction.

"Requiem Shark" is an unvarnished description of the profession of Pirates and their experiences and actions that will challenge your constitution. This is probably not a book to read just before or after a meal, and if you tend to recreate in your dreams that which you read while falling to sleep, keep this book for the daylight hours.

The partial sentence that is the title of this review is clear evidence that Mr. Griffin is a gifted writer, a future master-craftsman. But the fragment is pure misdirection that when placed in context, is rather dark, like tar?

The story is graphic, at times brutally so, but as uneasy/queasy as I sometimes felt, the violence was never gratuitous. The first definition in the glossary is for "Bloody Flux", its placement is appropriate.

The primary character Mr. Williams memorializes the exploits of Captain Robert's and his crew as they hunt for the ultimate trophy, the ship Juliette. Their race to catch their prize takes them across vast distances, and tests how far they will go, either through personal hardship, or in the infliction of same on others. Mr. Williams also finds what he can maintain of his original self and what end it will lead him to.

Sheri Holman wrote "The Dress Lodger". In her book she made the London of Charles Dickens a theme park in comparison. Mr. Griffin too likes the dark side of the human, and it's condition. His next book is to be about "anatomists and body snatchers in 18th century London".

I just completed reading "In The Heart Of The Sea" by Nathaniel Philbrick. I mention this as his research of the medical effects of the sea on people was impeccable, and where these two stories experienced a similar event, Mr. Griffin was on the mark with his facts.

A great tale, a brutal tale, a tale for older readers. You have not seen Pirates like those that Mr. Griffin will haunt you with. If re-opening a wound to remove the worms that are growing within does not make your squirm too much, "The Requiem Shark" will delight!

To say it politely, approximately 90% of Dark Valley Destiny is pure, subjective opinion. In fact, this book is not a biography at all (regardless of the author's claims), but is a pseudo-Freudian interpretation of Robert E. Howard's psychological state or mental "life" based on assorted, incomplete, and (in some cases) erroneous facts. De Camp's credentials as a psychologist, or even an amateur psychologist, are not only in question, but non-existent. Dr. Jane Whittington Griffin, whose name is presented as co-author and whose association seems to lend the book an air of respectability and authority, in fact had little to do with the writing of this book due to her untimely death while the book was in the process of being researched and written. Further, Dr. Griffin's credentials as a legitimately licensed psychologist have recently come into question as well.

In his own autobiography, de Camp refers to this book as a "psycho biography," and elsewhere de Camp admits that he had tried to sell the idea of writing a biography on Robert E. Howard to the publisher who considered the subject too dry and suggested that instead de Camp should spice it up a bit by writing a psychological examination and evaluation of Howard's work and life. This de Camp did, and the result is the eminently sensationalistic and yellow-journalistic commentary known as Dark Valley Destiny.

To top it all off, we find that de Camp is not remotely sympathetic toward his subject matter, and he takes pains to use his own moral and intellectual values and positions to criticize and condemn Howard at every step, while at the same time offering appeasing praise. The reader ought to be warned that de Camp's writing style is quite skilled and is meant to be persuasive. Meaning, de Camp will pull the wool over your eyes with statements of "opinion as fact" and unsupported leaps of logic unless you carefully read the book with a detached, critical eye. As a book that presents itself as a factual and authoritative biography, it is a farce and all but worthless. If you read this book, read it with a HUGE grain of salt, and be skeptical.

Although Dark Valley Destiny is not a definitive biography (or even a good one), it is unfortunately the only book yet published which claims to be a biography of Robert E. Howard. The memoir ONE WHO WALKED ALONE, by one of Howard's girlfriends, Novalyne Price-Ellis, is far more reliable and informative, but even this must be read with the understanding that the writer is drawing conclusions based on her own views and biases, which were sometimes made without complete information. Mrs. Ellis, however, had the good fortune of actually knowing Robert E. Howard and the information in her book is first hand knowledge, unlike that in Dark Valley Destiny. It therefore carries much more weight.

The suggestion below that all is opinion and the truth shall never be known is, in part, true. As de Camp mentioned, but quickly ignored, posthumous biography is a somewhat foolish endeavor. There are many points about Howard's life which will simply never be known. Yet, to state that all is opinion and therefore equal is specious and misleading. There are conclusions and opinions which hold up to and are supported by the known facts, and then there are conclusions and opinions which are not. There are conclusions which adhere to standards of validity, and there are conclusions that do not. The task of scholars, and a definitive biography, is to achieve the highest level of factual reliability possible - not to present one's own views or opinions. Where a conclusion is uncertain, its uncertainty must be noted and alternatives offered and explored. In all this, Dark Valley Destiny fails miserably.

If you're interested in reading one author's distorted and biased OPINION of another author, then this book is for you. If, on the other hand, you want to read about the life of Robert E. Howard, look elsewhere. To start, I'd recommend the "Short Biography" of Howard on the REHupa web site, ... and then I'd recommend reading Howard's "Selected Letters" (which are unfortunately out of print but can be found in used book stores). For additional biographical sources on Howard, try The Barbarian Keep web page. ...

L. Sprague de Camp's biography of REH is a very credible (if admittedly somewhat opinionated) account. Frankly, I don't understand the nonsense that some reviewers spout about this book. It is plainly evident that de Camp conducted a good deal of research, being especially diligent to seek out and interview virtually everyone that had known REH. All in all, de Camp based his research on oral and literary sources as well as visiting and studying the places where REH had lived. The value of such was recognized long ago. One need only read Herodotus, Thucydides, or the greatest historian of antiquity, Polybius, to appreciate this. Ultimately, de camp's bio reaches tenable conclusions based upon his research.

At this point in time, a more definitive bio seems somewhat questionable. There are probably very (if any) acquaintances of REH still living. This of course doesn't mean that future bios cannot be written, only that they will find it incredibly difficult to obtain any new material. Very few can ever approach an understanding of REH as de Camp did. After all, he spent a large part of his career as a fiction writer in editing and expanding the Conan series. Instead, future biographers will be sifting among the stones that de Camp has already quarried for them.

Finally, while de Camp was not a professional pyschologist, that in itself does not necessarily disqualify him in analyzing REH's state of mind. The fallacy of expert opinion comes to mind here. Most biographers hold an area of expertise in only one or two fields, and often their subjects will carry them into sundry fields of exploration. That's one reason why professionals published their work, so that others can benefit from the fruits of their research. Geez, excuse my getting off track here a bit, but some people have the lamest, sorriest reasons for not enjoying de Camp's work and appreciating it for the fine work of scholarship that it is. (Accusing de Camp of writing articulate prose with the intention to deceive, as one reviewer suggested, only demonstrates that they are unfamiliar with his prose style.)

Is D.V.D. perfect and without the occassional error found in most bios? By no means, but de Camp isn't trying to hoodwink anyone, and anyone with any critical faculties can disagree with some of his conclusions. That in itself is a sign of scholarship as de Camp has provided enough material to allow the reader to independently verify whether or not s/he agrees.

DeCamp describes Howard in his "Dark Valley Destiny" book, and Novalyne Price describes him in her "One Who Walked Alone" book.

Both are probably right and probably wrong. Read both.

If you want to understand REH, read his writings (and those of his biographers) and make up your own mind.

His was a tortured soul.

I could defend or criticize Howard on many different levels. The truth is (and I hope you agree)is that we've all lost something because his potential had never been fully realized.

This work should be read by anyone interested in biography, but not for reasons the author might suspect. Here is a perfect example of biography as personal agenda. Here is biography as a skillfully written---but convoluted---interpretation of the life, letters and poems of Emily Dickinson.

Wolff should have written an editorial and clearly marked it as such.

However, one good service was provided. My friends and I would read a poem being discussed by Wolff, and then read her "forced" interpretation of it. We had many hearty laughs. But we also felt genuine pity for Wolff. Is this what she has to do to defend her agenda? Does she have no other means?

I do not worry about scholars reading this book. In fact they should read it. They will easily discover those parts that are useful---and there are many---and discard the rest. But what about young students? What of those who do not know Emily and pick this book as their first meeting with her?

Instead, may I suggest they read "The Capsule of the Mind" by Theodora Ward. It is also a psychological look at Emily Dickinson. Ward is the granddaughter of Doctor and Mrs. Josiah Gilbert Holland, two of Emily's closest friends. Ward was also an assistant to Thomas H. Johnson, Harvard University, the person most responsible for bringing us Emily's letters and poems. In fact, Ward herself was inspired to become a Dickinson scholar when she discovered sixty-five of Emily's letters in her family's attic.

Cynthia Wolff, please spare us your politically correct---but factually incorrect---views on Emily Dickinson.

Joe Psarto 27843 Detroit Road # 412 Westlake, Ohio 44145 (440-835-5179)>jpsarto@juno.com<

The greatest strength of this biography is found in its interpretations of ED's poems. Wolff is a careful and insightful reader, capable of teasing out many layers of meaning in even the most elliptical pieces. Her analyses sometimes left me breathless; there's a special pleasure in discovering new meanings in familiar poems.

As noted by another reviewer, Wolff does approach this biography with a kind of agenda. She is most interested in demonstrating how Dickinson rebelled (both in work and life) against the Trinitarian Christianity of her upbringing. Wolff really excels here, and her insight is delicious. Wolff also imbues her readings with a feminist tilt; she never descends into theoretical jargon, but her readings are often skewed by her concern with gender. I wasn't bothered by this, since her interpretations still proved fruitful and provocative. Wolff is weakest in describing ED's relationship with her mother; the psychological bent she brings to this rings a bit hollow for me, and she rides her insight about the infant poet's emotional deprivation through the entire work. Her speculation, in my opinion, isn't helpful or needed.

As a life story, this volume isn't quite so complete as it might've been. It's more a work of criticism than biographical scholarship (although Wolff brings much learning to bear in her critiques on ED's work). If you're interested in the specifics of Dickinson's life, I'd recommend starting with Sewall's monumental biography.

It's also worth noting that some critics have disagreed with Wolff's commentary on Dickinson's life, particular the poet's childhood (Wolff's take on it is rather bleak, a conclusion not necessarily supported by the historical records). I'm not a Dickinson scholar, so I can't answer to these arguments. I do love ED's poetry deeply, however, and found this book a compassionate and fascinating read.

Having read (more or less) every biography of Dickinson -- perhaps the greatest poet in English and one of the great literary sensibilities on record -- Cynthia Wolff's is the one which stands out as placing her in the appropriate context. Other biographies (for example, Sewell's) may contain a greater degree of sheer information, but none is so intelligently selective as this. Wolff's scholarship is something one can only marvel at. She attempts to, and succeeds brilliantly at, surrounding Dickinson by her literary and cultural milieu, the revivalist fervor sweeping New England at the time, her familial dynamics, the role of someone of her gender and class at that place and time. Rather than see just the face of Dickinson, a full portrait of her world emerges.

Wolff's readings are unconventional because, quite frankly, she's one of the few who's gone to the trouble of realizing that Dickinson had an ICONOGRAPHY, that certain terms appear with regularity of time and meaning. "Ample", "wrestle", "elect", "father", "bird", "bee" -- one can go on and on, if one really looks -- all derive meaning *cumulatively* from Dickinson's poetic work and voluminous, lapidarian correspondence. Many terms are consistently ironic, or mean their opposites; 'reading' the poems without realizing this will produce the kinds of interpretations produced with disappointing regularity by less careful critics. Wolff has drunk it all in, and synthesized it, in a monumental work of decipherment.

This probably shouldn't be the only Dickinson biography one reads. But it should be at the top of any such list.

A classic newspaper book that ought to charge up any real or wannabe ink-stained wretch. Read it for the ledes alone.

For those interested in Griffin's experiment which became the book, BLACK LIKE ME, Bonazzi's book is an insightful resource. He gives additional sources and background material that describe the influences and personal inner journey that lead him to the BLACK LIKE ME experience and beyond. If you stick with the book to the end you will receive a glimpse into the deeply spiritual orientation which motivated Griffin's life work. This book is an important contribution to the understanding of BLACK LIKE ME, which in itself is significant enough to need re-reading for the 21st century.

Instinctively, most decent people don't like to see anyone singled out and denigrated unfairly. To most, it seems particularly distasteful if the denigration is on the basis of race, gender or (to many, at least) sexual orientation. Yet the authors of this book, all of whom are active in campaigns for equality as well as for civil liberties, see codes on US campuses which prohibit and punish such speech as a threat.... Why?

Their book examines the arguments for and against such codes and the issues that underlie them. Objections to these codes include that :

They are a threat to basic free speech principles. In particular the idea that speech should be protected regardless of its content or viewpoint -- a principle intended to prevent the law from favouring one interest over another.
 
They have a chilling effect on wider discourse. Nadine Strossen points out that : Regardless of how carefully these rules are drafted, they inevitably are vague and unavoidably invest officials with substantial discretion in the enforcement process; thus, such regulations exert a chilling effect on speech beyond their literal bands. (1)
 
They put us on a "slippery slope". Ideas not originally intended to be the subject of the codes will be penalised. Throughout the book examples are given of this happening. Strossen points out that in Britain the "No Platform for racists and fascists" was extended to cover Zionism (whereby its victims included the Israeli ambassador to the UK). (2) In Canada the victims of restrictions of free expression have included the black feminist scholar Bell Hooks, and a gay & lesbian bookshop in Toronto. (3)

Much the same issue was raised from the floor of an LM sponsored conference in London at which one of the authors (Nadine Strossen) spoke; it was pointed out that the UK Public Order Act of 1936, which was ostensibly introduced to control the followers of British Fascist leader Oswald Mosley, had been invoked time and time again to ban demonstrations by leftists and trade unionists. Similarly, police tactics used against the National Front in the 1980s to prevent their coaches from reaching demonstrations were later employed against striking miners.

The book's authors note that the codes give power to institutions and government. Can we trust them with these new powers? As David Coles, a law professor at Georgetown University, wrote :

...in a democratic society the only speech government is likely to succeed in regulating will be that of the politically marginalised. If an idea is sufficiently popular, a representative government will lack the political wherewithal to supress it, irrespective of the First Amendment. But if an idea is unpopular, the only thing that may protect it from the majority is a strong constitutional norm of content neutrality. (4)

Donald E. Lively questions how new powers will be exercised :

Reliance upon a community to enact and enforce protective regulation when the dominant culture itself has evidenced insensitivity toward the harm for which sanction is sought does not seem well placed. A mentality that trivialises incidents such as those Lawrence relates is likely to house the attitudes that historically have inspired the turning of racially significant legislation against minorities. (5)

But perhaps Ira Glasser puts it best in her introduction to the book :

First, the attempt by minorities of any kind -- racial, political, religious, sexual -- to pass legal restrictions on speech creates a self-constructed trap. It is a trap because politically once you have such restrictions in place the most important questions to ask are: Who is going to enforce them? Who is going to interpret what they mean? Who is going to decide whom to target?
The answer is : those in power. (6)

Another condemnation is that the codes are an exercise in self-indulgency, a trivialisation of real racial imperatives by the pursuit of relatively marginal and debatable concerns....
Donald E. Lively states :

As a method for progress, however, protocolism (1) seriously misreads history and disregards evolving social and economic conditions, (2) is an exercise in manipulating and avoiding racial reality; and (3) represents a serious misallocation of scarce reformist resources. (7)

Speaking of Race, Speaking of Sex doesn't just put the arguments against speech codes -- it also deconstructs the arguments put in their favour. The three most interesting arguments in favour of such codes are, in my view, (1) that racist expression is not about truth or an attempt to persuade and so is not worthy of protection; (2) that racist declarations are in fact group libels; and (3) that racist expression is akin to an assault.

All three arguments are dismissed by the authors. In the first case, Justice Douglas is approvingly quoted :

(A) function of free speech under our system of government is to invite dispute. It may indeed best serve its high purpose when it induces a condition of unrest, creates dissatisfaction with conditions as they are, or even stirs people to anger. Speech is often provocative and challenging. It may strike at prejudices and preconceptions and have unsettling effects as it presses for acceptance of an idea. This is why freedom of speech, though not absolute is nevertheless protected against censorship or punishment, unless shown likely to produce a clear and present danger of a serious substantive evil that rises far above public inconvenience, annoyance or unrest. There is no room under our Constitution for a more restrictive view. For the alternative would lead to standardisation of ideas either by legislatures, courts, or dominant political or community groups. (8)

The second argument -- that racist, sexist or homophobic statements are group libels -- is likewise dismissed. The authors point out that libel involves the publication of information about someone that is both damaging and false. Apart from the obvious fact that group libel doesn't refer to an individual does it fit the definition? Henry Louis Gates Jr. states that it does not. He points out that racist statements may be right or wrong but cannot in many forms be judged true or false. they are often statements of what the individual thinks should be or an expression of feeling. As Gates points out : You cannot libel someone by saying 'I despise you', which seems to be the essential message of most racial epithets. (9)

The last argument -- that such speech represents an assault or words that wound -- is examined, and also dismissed. The authors accept that words can cause harm. Their concern, however, is that no code can be drawn in such a way as to punish only words which stigmatise and dehumanise. They point out that the most harmful forms of racist language are precisely those that combine insult with advocacy -- those that are in short the most political. (10) Attempts to deny that racist speech has a political content also deny that they are part of a larger mechanism of political subordination.

So, can we combat hatred on grounds of race, gender or sexual preference whilst cherishing and nurturing civil liberties? Can we encourage a diversity of thought as well as of population and lifestyle? The answer given by the authors of this book is an emphatic 'yes'. They don't see equality of opportunity and freedom of expression as being at odds. As such, their ideas are refreshing in contrast to the many who seem to have quite unthinkingly accepted that we must sacrifice our freedom on an altar of (faked) equality...

I am an undergraduate student taking a course in virology, and i find this book extremely difficult to learn from. As a reference source for a particular virus it may be of use, but use of this book as a learning tool is foolish. Yes, this book is written by experts concerning a particular field, but it seems that the authors target audience is also...experts. In introducing fundamental concepts of virology, the text constantly uses examples to a particular virus. From this particular virus, it then makes reference of a mechanism of this virus. How can one make a reference to a mechanism, when one has not yet even been exposed to the virus family themselves? Its almost like talking about the stats of a certain sports figure, and then as a foot note make reference upon how the game is played.

As an undergraduate taking a course in virology, I found this book the only book I ever needed. It has all the information that you need and more. I just hope that they will continue to come out with a newer edition since this book is out of date and the field of virology has grown since this edition.

I read the chapter on prions and i found it to be really good and up to date. of course it requires you to know a little background knowledge but if you're reading this book you probably already fill out that category. definitely not for the layman...

This book is no better than any of the other graduate level marketing books that are available. You might think that since this book has 15 authors it might have something that books with only 3 authors lacks. But, if you thought this you'd be wrong. This book offers nothing new and its extremely high price makes it even less appealing.

This book combines the knowledge of excellent scholars of marketing in a clear and structured format which is accessible to undergraduates. In addition, the cases and other teaching materials provide excellent support.

My high school biology student and I were ready to color but this is more a textbook than a coloring book. The picture on the outside of the book looks much more defined than the pictures in the book. There was a LOT of coloring in letters and numbers, and you need a VERY fine line marker to do it. You're supposed to read the text page on the left to discover how to color the picture on the right. We expected better pictures - like the one on the front of the book, and less text to wade through. Wish I'd gotten the Gray's Anatomy coloring book instead.

Despite its figurative shortcomings, this book has a functional approach. It did a good job in integrating and correlating all the physiological processes, which sustain life.
The book was designed for students who are taking biology as an ancillary to first degrees. Hence, it compels its users to understand the importance of careful drawing (and/or painting). Though this may seem irritating in the beginning, it yields dividends in the end.
Students are likely to appreciate its fundamental links to both anatomy and physiology. All the important life processes were discussed. But, the fact that this first edition has not been revised since (its first appearance in) 1986 makes the book a bit obsolete.

I understand why the other reviewer was disappointed with this book- it is not geared for people with graduate educations. Rather, it could be a very useful study aid for a late high-school or early undergraduate level student. It has to cover a lot of basic science concepts very quickly and so doesn't get into great detail. But it covers basic concepts thoroughly. The pictures are detailed and fun to color- I suggest using fine-tip magic markers.