Critical acclaim for Lawrence Wright's
A Rhone-Poulenc Science Prize Finalist
This is a book about far more than twins: it is about what twins can tell us about ourselves.--The New York Times
With plenty of amazing stories about the similarities and differences of twins, Wright respectfully shows, too, how their special circumstance in life challenges our notions of individuality. A truly fascinating but sometimes spooky (Mengele's experiments with twins at Auschwitz figure among Wright's examples) study.--American Library Association
Like so much of Wright's work, this book is a pleasure to read. Because he writes so well, without pushing a particular point of view, he soon has you pondering questions you have tended to comfortably ignore.--Austin American-Statesman
Informative and entertaining . . . a provocative subject well considered by a talented journalist.--Kirkus Reviews
Critical acclaim for Lawrence Wright's
A Rhone-Poulenc Science Prize Finalist
This is a book about far more than twins: it is about what twins can tell us about ourselves.--The New York Times
With plenty of amazing stories about the similarities and differences of twins, Wright respectfully shows, too, how their special circumstance in life challenges our notions of individuality. A truly fascinating but sometimes spooky (Mengele's experiments with twins at Auschwitz figure among Wright's examples) study.--American Library Association
Like so much of Wright's work, this book is a pleasure to read. Because he writes so well, without pushing a particular point of view, he soon has you pondering questions you have tended to comfortably ignore.--Austin American-Statesman
Informative and entertaining . . . a provocative subject well considered by a talented journalist.--Kirkus Reviews
Originally published in 1983, this book is about the way we see things - or think we do, which is by no means the same - and about the ways in which we have tried to reproduce that visual concept in diagrams, pictures, photographs, films and television. Whatever the medium, if any degree of realism is intended, some use of perspective is inevitable, and some understanding of it can aid the appreciation of the result. But here the technicalities of perspective geometry are treated as far as possible non-technically, by a common-sense approach. Students, would-be artists or architects, are warned in the Preface that they will travel second-class in the author's train of thought (the 'general reader' coming first), but they may well find the journey worthwhile in that it provides a background to a subsequent, more detailed studies.
Lawrence Wright shows that every form of perspective representation has some innate falsity, but that most such forms offer an adequate makeshift; that rules of geometry often need to be bent; that labour-saving dodges and shortcuts exist. As he says, perspective drawing, like politics, is an art of the possible. In reading this book, beginners may find it all simpler than they had supposed, though the established expert may in some interesting respects find just the opposite. The general reader may thereafter find himself seeing things - and representations of them - in a new light.