It's important to point out that this is a TEXTBOOK, and as such, isn't aimed at the general public. It's clearly intended for readers with a background in linguistics and/or translation, due to its dry, scientific presentation and the huge amount of specific lingo:
(Here are a just a few terms I found in the first half of the book, flipping through and reviewing my notes: propositional vs expressive meaning, collocational range, marked collocations, modal meanings, agentless clauses, theme vs rheme, Sprachgefühl, disjuncts, onoma and rhema, the Hallidayan approach vs the Prague school, fronted theme, etc.)
That said, there are a few interesting nuggets here and there (mostly in the earlier chapters) that even a lay reader might find of interest. However, the text is exceedingly dry and scientific (which isn't a criticism; this is a TEXTBOOK, and reads like one), and the latter half of the book is particularly dense and daunting.
I am a translator, so I'm constantly reading books on the subject to broaden my knowledge and insight, and this is a valuable work, one I would recommend to translators. However, one thing I would point out is that at times the book seems a bit exaggerated in that it tries too hard to turn an activity that is, I believe, an ineffable mix of art and science, into a hardcore, clear-cut science.
In other words, this book only considers the science aspect of translation, sometimes stretching to set out scientific vocabulary and methodology to describe and define a practice that is very much an art at its heart.
This isn't necessarily a bad thing. Translators would do well to be familiar with the terms and theories presented in the book in order to inform their practice, but the risk is that one may come away with the impression that translation is a precise, scientifically defined pursuit, period.
To put it another way, a similar coursebook on poetry, for example, might outline various meters used in poetry, different styles and types of poetry, etc.
Obviously, many great poets wouldn't necessarily know this specific information (especially the terminology), and someone who does memorize all this terminology and information isn't guaranteed to be a great poet, clearly. This is because poetry involves art, creativity, imagination, a sense for how words sound, etc., and these are things that science can't teach.
Likewise, translation (especially literary translation) involves creativity, imagination, a sense for how words sound, and many other artistic elements that are difficult or impossible for science to define, let alone teach.
This is supported by a quote used in the book (p. 65 of my edition): "A translator shall work only into the language (...) of which he has native knowledge." The point is that a native speaker of a language has the best "feel" for its tone, idioms, structure, grammar, etc. This falls into the "art" realm of language use, beyond something that can be described or taught by science.
I did appreciate how various translation solutions were listed and elaborated upon, with many practical examples of English text translated into various other languages (including Chinese, Arabic, French, etc.), followed by back-translations into English to demonstrate structural differences in the languages and how they affect the form and tone of the message.
Finally, I should note that the edition I have is the 1992 one. Later editions are undoubtedly improved and expanded.