As far as I am concern, if you are really an expert in origami, you need not prove it by folding complex models but prove it by really appreciating the simple ones!

I am a fan of Paul Jackson's works.

In this book, models include twirly copter, tumbler, double vision, waterbomb, jumping frog, jaws, propeller, whip-crack and flapping bird (not the traditional one).

This book makes a good present for the younger ones and to introduce them to origami. With some help from a parent, and some bonding time, this will definitely raise a smile.

I too have enjoyed folding it and teaching it.

The chapter organization is good and the review questions at the end of each chapter are very useful in the course. My students are college juniors and seniors, and they find it easy to read.

I tend to avoid texts that don't do an adequate job of presenting research. This text has a sound introduction to current research in the field, and is an excellent choice for me.

Instructors looking for a good presentation of work on cognition in Adulthood will find the associated chapters useful as both a text and reference material to keep on hand for other courses, such as a 'Lifespan Psychology' course.

The new edition includes more on women, cross-cultural aging, personality and clinical aspects of aging, grandparenting, as well as much new material on aging and adaptation.

I would certainly recommend this book for any solid college level course on Adulthood.

Suzanne Prescott, PhD Governors State University University Park, IL. USA

It pre-dates Jane Eyre, but it has that poor-lonely-orphan-wronged-by-the-world quality to it. Picture Jane Eyre as a young, red-headed Scotsman with a thin-skin, bad temper and active libido. Roderick's going to London reminded me of D'Artagnan arrival in Paris in "The Three Musketeers". His mere presence is often a cause of confict. There are insults, fights, brawls, battles, sea clashes, duels, and some more insults. Roderick is the world's punching bag and his own pride and scheming won't let him say, "I've had enough." All the while his hot blood is leading him into haylofts, bedrooms and yet more trouble.

Will this 18th-century punk ever wise up? Read for yourself. I suggest the Oxford World's Classics version. I didn't expect the footnotes, but they were a great boon. The language is archaic in places, so keep a dictionary handy.

A plot summary of ALL THE RAGE may certainly give the reader the impression that this is a silly and fluffy narrative. In many ways, this accurately describes a lot of the book. Yet such an account misses much of the heart and soul of this story. It isn't just the adventures of a tacky, glossy (and probably terrible) boy-girl band; it's also the story of their lives, loves and frustrations. Paul Magrs is borrowing a lot of the clichés concerning what we know of the music industry, but he's using these clichés to tell a very human story.

One could probably guess at the identities of the band's complement. There's the member of the band who thinks he's a real musician, the member who thinks that her lyrics are God's gift to pop culture, the member who's already got her sights on a post-band career, and the member who's only in the group to keep the real talent stable. On the whole, there's something really [sad] about most of the people here, but Magrs isn't just into kicking people when they're down. Despite their lack of actual ability, they do retain a certain dignity. Their struggles are real and matter to them, and that translates well to the reader who does have the advantage being able to see the bigger picture. We can see them in a way that they can't and this benefit allows us to see the individuals up close.

On the other hand, not everything was as successful as it could have been. The second portion of the story (the attempted reunion) is narrated by a character who was only a child at the time of Thing Fall Apart's heyday. While he played a crucial role at the beginning, his need to appear dwindles to the point where even the character is starting to wonder what he's doing there. The ending just had too many things going on, and with the sudden numerical expansion of important characters in the final chapters, there are too many people who don't quite seem to have a fully reasoned motivation for being there. The insertion of several characters from the beginning seemed an artificial way of keeping certain people occupied in the plot, but I just don't think it was executed particularly well. As a result the overall conclusion does seem a bit rushed in placed, although the final sequence is an absolutely joy to behold as well as being a complete surprise. Fortunately, the haste in which the book closes by no means lessens the rest of the story.

Now, despite the silliness and human drama that I've been discussing, this book is also killingly funny. The story is told with a lot of wit and humor, while containing numerous entertaining characters. Their manager, a gigantic, enraged transvestite (who seemed to grow more massive as the story progressed), is one of the more unforgettable characters that I've read recently, and every line of his dialog had me rolling on the floor with laughter. Other characters are also quite amusing, and virtually all of the scenes are related with a great deal of panache. Magrs' prose style suits this sort of story wonderfully; on the surface it's warm and fuzzy, but underneath one can see something more substantial and sinister lurking.

Despite its apparently frivolous nature, ALL THE RAGE is really a clever and witty story. Split into two related stories, I quite enjoyed seeing the echoes of one narrative flow into portions of the other. Occasionally thought provoking, and never short of entertaining, ALL THE RAGE comes recommended.