The Slit Lamp Primer is the complete book on the slit lamp for the ophthalmic and optometric office. Now updated into a second edition, this user-friendly introduction to the slit lamp microscope highlights the instrument's basic parts as well as examination and illumination techniques.

Janice Ledford and Valerie Sanders explain more than just the fundamentals of the slit lamp. Written in a conversational style with supplemental photographs and diagrams, The Slit Lamp Primer delves into issues concerning the normal, postoperative, and problematic eye. Features of the patient history, including medications, are examined in light of the possible slit lamp findings. Detailed notes for proper documentation are included, along with tables to give guidelines for subjective grading of the findings.

Updated and key features:
The examination of patients on various systemic medications with a list of drugs that may have side effects visible with the slit lamp
The examination of post-operative patients, with a new section that focuses on patients who have undergone refractive surgery
Up-to-date study icons, key points listed at the beginning of each chapter, and "What the Patient Needs to Know" sidebars
Photographs and descriptions of parts and care of the slit lamp
Atlas of photographs of the normal eye
Photographs of pathology
Tables to assist in contact lens evaluation

The Slit Lamp Primer, Second Edition is a valuable addition to the reference library of any ophthalmic and optometric paraprofessional or student. Explore the workings of a useful and effective instrument with the most practical and user-friendly book on the subject available today.

I Wonder As I Wander (1956), Hughes's second volume of autobiography, is a continuation from The Big Sea, detailing his global travels to such areas as Cuba, Haiti, Paris, the Soviet Union, and the Far East. It culminates in his 1937 coverage for the Baltimore Afro-American of the Spanish Civil War. The travelogue highlights the beginning of Hughes's career as a journalist, a further realization of his goal to live as a professional writer. Furthermore, it shows the influence of legendary black educator Mary McLeod Bethune, who inspired Hughes to travel through the South giving readings of his poetry. His recollections of American journeys place him as well in Carmel, California, and the San Francisco area, where he was befriended by Noël Sullivan and was among the set of Hollywood personalities sometimes including James Cagney, Greta Garbo, Jean Harlow, as well as Indian mystic J. Krishnamurti. Hughes also shows readers the lighter side of his adventures in the Caribbean, where he experienced the rhythms of Afro-Cuban music and the wonders of such sights as the Citadel in Haiti.

In 1932, having traveled with a group of African Americans to the Soviet Union to make a film about southern black steelworkers and domestic laborers, Hughes became familiar not only with Moscow's theatrical life but also with 'colored' minorities in the new republics of Soviet Central Asia. As a wanderer, he carried with him a record player and a collection of jazz recordings and became an informal participant in 'cultural exchange.' For Hughes, the lack of appreciation of jazz by Russian ideologues was a major flaw in the system. In Tokyo and Shanghai, he learned about Asian global politics and tough street life, and in Paris he reacquainted himself with its nightlife and such personalities as Ada 'Bricktop' Smith and Josephine Baker.

Throughout his journey, he observed the presence of blacks, whether as entertainers in major capitals or as soldiers on the battlefront in Barcelona and Madrid. His coverage of the Spanish Civil War is a serious report of the tragedy of conscripted North African Moors and the heroic efforts of the International Brigades and such African Americans as Milton Herndon in their fight against fascism. Spain is also a window into flamenco musical culture, where singers such as Pastora Pavón offer their own form of the blues.

In rare moments, Hughes reveals aspects of his personal romantic encounters. Also of great interest are his recollections of writers Arthur Koestler, Nicolás Guillén, Pablo Neruda, and Ernest Hemingway. I Wonder As I Wander shows how Hughes maintained a Harlem-derived black consciousness, while expanding it through global wandering.

But someday somebody'll
Stand up and talk about me—
Black and beautiful—
And sing about me.
And put on plays about me!
I reckon it'll be
Me myself!
Yes, it'll be me.

Langston Hughes is least known for his theatrical endeavors, yet his attention to the theater was lifelong. His love of the stage began in childhood, and from the late 1920s on he was continually writing plays, for black community theater, for theater companies he established himself, and for the Broadway and off-Broadway stage. His early plays endeavor to provide 'authentic' representations of African American life, both to counter and correct the stereotypical stage portrayals of African Americans in white theater and to provide suitable plays for black theater companies hungry for scripts that would entertain and challenge black audiences.

Volume 5 of The Collected Works of Langston Hughes includes the plays Hughes wrote between 1930 and 1942, alone and in collaboration. Almost all the plays were performed during the same period; a few have never seen the stage, but are included because they indicate the range of Hughes's artistic and political concerns. Because very few of the plays in this volume have been previously published, they disclose a side of Langston Hughes's artistry that is virtually unknown. The collection greatly expands our understanding of the Hughes legacy, and makes us rethink the history of African American theater.