ach new edition of this textbook holds out a promise to its
authors. “You’re done—the book is perfect!” Not! Although
it would appear that this would be so aFer all the work be-
stowed upon it over eight editions, it still takes the better part of two
years, demands our participation in many focus groups, mobilizes
our library research skills, and tests our creativity once again before
we finally put the last page of the new edition to rest. It never really
gets easier as we grind away—the grist finer with each edition.
In all fairness, we don’t work alone. Many people shared the
work of this edition and deserve their proper due. Once the first
draF of each chapter was complete in our estimations, it was sent
off to Alice ±ugate, the text developmental editor, who wielded
her pen to ensure readability and consistency—factors very im-
portant to student success. Backing up Alice’s work was the di-
rector of development Barbara Yien, well known for her ability
to see the whole picture. AFer we perused and processed Alice’s
suggestions, the manuscript went to Shannon Cutt. Shannon,
our cheery associate project editor, checked every aspect of the
newly modified text before sending it on to production. Nobody
escapes Shannon’s ministrations—especially her amazing ability
to chase down things that threaten to fall through the cracks. If
we failed to meet her deadlines, a barrage of emails rained down,
all asking us in the sweetest way to get the missing item in. AFer
Shannon had assured herself that all was well, the manuscript
went to Anita Wagner, our skilled copyeditor for the last several
editions. Anita knows our text as well or better than we do. She
checks grammar, spelling of new drugs or procedures, and veri-
fies statistics; much of the superb accuracy of this text is to her
credit as a copyeditor par excellence.
Whew! But that’s not all, folks. Once the writing and edit-
ing part of the revision is complete, the manuscript goes to the
production department, where the text and art come together.
Tis business-like domain is headed by Michele Mangelli, our
production manager once again. Always knowledgeable, Mi-
chele guides the production process with great skill and works
seamlessly with the members of her excellent staff. She makes
sure the artists are on schedule producing art with the appropri-
ate look and accuracy, directs the industrious photo researcher
Kristin Piljay, and oversees the work of David Novak (the con-
scientious production supervisor) and that hard-working art
coordinator Jean Lake.
Te last edition of this text touched every figure—making
each piece of art more timely, more colorful, more accurate, or
better pedagogically. Te really big success in the art arena was
the fabulous one- to two-page ±ocus figures introduced in the
Eighth Edition. Tese new figures selected physiological con-
cepts that students have the most difficulty with and “unpacked
them.” Tey say you never really have too much of a good thing,
so this edition has 12 new ±ocus ±igures. We hope you will
like these as much as you did the last offerings. Helping to en-
sure that you will is Laura Southworth, the art developmental
manager who worked tirelessly on these figures. She is not only
the art manager but also a skilled professional artist who can
illustrate just about any concept we ask for. Tis capability en-
sures that the art manuscript delivered to the talented artists of
Imagineering and Electronic Publishing Services, who drew the
final art, had all the information they needed to produce a qual-
ity product. Laura is truly amazing. Important in a different art
arena was Lisa Lee, who supplied several of our histology photos
and served as a consultant on images from other sources. ²om
±ink (East Carolina University), William Karkow (Dubuque
University), and Olga Malakhova and Charles Poulton (both
from University of ±lorida College of Medicine, Gainesville)
provided histology and cadaver images on an incredibly tight
schedule. Tanks so much!
We also thank two people who contributed significantly to
this edition: James Hewlett and William Karkow. Working on a
tight schedule, James Hewlett contributed 13 new case studies,
which were expertly reviewed for clinical accuracy by thoracic
surgeon William Karkow.
Tanks also to Yvo Riezebos, cover designer, and tani
hasegawa, text designer. Teir creativity helped to produce a
truly beautiful book. We are very happy that our cover photo,
taken by renowned photographer Annie Leibovitz, is of the
best known female goalkeeper in the world — Hope Solo. Hope
won an Olympic gold medal in 2008, was named Women’s
Professional Soccer’s Goalkeeper of the Year in 2009, and was
awarded the Golden Glove at the 2011 World Cup. Sustaining
the effort to produce a beautiful book all the way to press were
our excellent proofreader, Martha Ghent, and S4Carlisle Pub-
lishing Services, the proficient compositor who assembled the
final pages with their customary expertise.
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