The book first explains the reasons why people meditate and gives some tips to get the most out of meditation ( i.e. keep a journal ). The book then explains how to meditate by using correct posture and breathing techniques. The next few sections then gives the reader ideas on what to focus on or what to think about when meditating such as symbols and imagery. There is also a section on the importance of colors and how different colors can invoke emotions. The rest of book then gives tips on how meditation can affect your life by producing change and reduce stress. Overall, this book is incredibly valuable and there is no reason not to get it considering its price.

Thanks to this book, I meditate at least 5 minutes a day when I wake up. It also provides me with ideas on what I can meditate on.

Its major strength is the integrated approach: Sherman Lee organizes the book chronologically and thematically, rather than geographically. Instead of writing a section on Chinese art and a section on Indian art, Lee organizes his material by stage of development (Stone Age pottery) or by cultural movement (Buddhism), for example tracing the development of Buddhist styles in India, the adoption of those styles in China, Japan, and S.E. Asia, and the eventual synthesis of the Indian influences into local styles incorporating indigenous themes. Lee writes eloquently and even passionately about his subject, letting us know which cultures, styles, and artworks he admires. He covers a vast amount of cultures and time periods, easily enough material for dozens of books.

The book does have significant flaws, however. Most frustrating are the black and white photos (presumably a cost-saving measure). Roughly 90% of the images in the book are black and white, and they cannot do justice to most of the subject matter. A second weakness is Lee's writing style, which is sometimes more eloquent than comprehensible. At times I had to reread a section several times in order to figure out what Lee was trying to say. He sometimes seemes to be addressing himself to an audience of art critics who are already familiar with the material, rather than students encountering it for the first time. He will tell us that a particular art work is hieratic in style, or is an example of Daoist style, without explaining why. Also the thematic, rather than chronological, approach means that some topics are fragmented into parts of different chapters. The material on Korea, Southeast Asia, and the Tang Dynasty seemed especially disjointed. The sections on China in particular need more development: Lee provides only a single page of text on the historically pivotal Qin Dynasty, and does only a fair job explaining the influences of Confucianism and Daoism.

One alternative text that deserves consideration is The Art of East Asia, edited by Gabriele Fahr-Becker. Almost of the photographs are in color, and the text is both more comprehensive and more comprehensible than Sherman Lee, in particular the section on China. The text is written by several different authors, one for each region, which has both advantages and disadvantages -- it avoids the fragmentation of Lee's approach, at the expense of integrating it all into one consistent framework. The key disadvantage of The Art of East Asia (compared to Sherman Lee's History of Far Eastern Art) is that it doesn't include India, which contributed some of Asia's most impressive sculptures, and whose religions had tremendous influence on the rest of Asia.

I was required to use this book as a secondary text for a class on early Asian Cultures at NYU. Along with the material presented in class, this book provided great insight into basics of the Asian culture.

This rather heavy book is perfectly organized chronologically and geographically. It provides great graphical supplement to the study of early Asian art. Many artifacts are portrayed, most with detailed description of their history and origin.

I enjoyed my class greatly and this book provided great help to understanding Asian art. If you are a person who prefers visual aids rather than tons of text and would like to learn the basics of Asian art, I highly recommend this book. The photographs are excellent, and more often then not, actually motivate you to reading the descriptions of the portrayed objects. This book will not make you an expert on Asian art, but you'll be able to schmooze your way through at pretentious cocktail parties without any effort.

If you are saving your pennies, wait for the DVD of season 3 coming out in August. Otherwise, if you're like me, you'll want this book no matter how sucky it is.

While not dismissing the discontents expressed by one of the other reviewers here, I think the typos and somewhat unconventional organization of the book are attributable to this being a self-published effort and thus not as slicked up (or dumbed down) as the usual product of corporate publishing. If you're into the true Mr. Show groove, this will probably make you love it more.

This book is designed to program and brainwash your kids into becoming the next John Walker Lindh.

- Don Gray: "Solving Other People's Problems"

- S.M. & K. Roberts: "Do I want to Take This Crunch Project?"

- Gerald Weinberg: "Congruent Interviewing by Audition"

- Johanna Rothman: "It's Just the First Slip"

Although the critical reader may find some other sections offering commonplace or occasional misguided advice, the whole book is stimulating and easy to read in one sitting. Recommended for your project-management shelf.

I found the beginning of the book a bit confusing--Zucker jumps around a bit before we find out what has happened. Benno's character is likeable, but I never felt connected with him, and so I didn't feel the pain of separation from his bear, and I didn't sense his loyalty to his father, even when he decided to stay with him at the end. The plot is original, and Zucker has painted an interesting world. I would consider this an additional purchase.