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Allometry, the study of the growth rate of an organism's parts in relation to the whole, has produced exciting results in research on animals. Now distinguished plant biologist Karl J. Niklas has written the first book to apply allometry to studies of the evolution, morphology, physiology, and reproduction of plants.

Niklas covers a broad spectrum of plant life, from unicellular algae to towering trees, including fossil as well as extant taxa. He examines the relation between organic size and variations in plant form, metabolism, reproduction, and evolution, and draws on the zoological literature to develop allometric techniques for the peculiar problems of plant height, the relation between body mass and body length, and size-correlated variations in rates of growth. For readers unfamiliar with the basics of allometry, an appendix explains basic statistical methods.

For botanists interested in an original, quantitative approach to plant evolution and function, and for zoologists who want to learn more about the value of allometric techniques for studying evolution, Plant Allometry makes a major contribution to the study of plant life.

In this first comprehensive treatment of plant biomechanics, Karl J. Niklas analyzes plant form and provides a far deeper understanding of how form is a response to basic physical laws. He examines the ways in which these laws constrain the organic expression of form, size, and growth in a variety of plant structures, and in plants as whole organisms, and he draws on the fossil record as well as on studies of extant species to present a genuinely evolutionary view of the response of plants to abiotic as well as biotic constraints. Well aware that some readers will need an introduction to basic biomechanics or to basic botany, Niklas provides both, as well as an extensive glossary, and he has included a number of original drawings and photographs to illustrate major structures and concepts.

This volume emphasizes not only methods of biomechanical analysis but also the ways in which it allows one to ask, and answer, a host of interesting questions. As Niklas points out in the first chapter, "From the archaic algae to the most derived multicellular terrestrial plants, from the spectral properties of light-harvesting pigments in chloroplasts to the stacking of leaves in the canopies of trees, the behavior of plants is in large part responsive to and intimately connected with the physical environment. In addition, plants tend to be exquisitely preserved in the fossil record, thereby giving us access to the past." Its biomechanical analyses of various types of plant cells, organs, and whole organisms, and its use of the earliest fossil records of plant life as well as sophisticated current studies of extant species, make this volume a unique and highly integrative contribution to studies of plant form, evolution, ecology, and systematics.

Play Redux is an ambitious description and critical analysis of the aesthetic pleasures of video game play, drawing on early twentieth-century formalist theory and models of literature. Employing a concept of biological naturalism grounded in cognitive theory, Myers argues for a clear delineation between the aesthetics of play and the aesthetics of texts. In the course of this study, Myers asks a number of interesting questions: What are the mechanics of human play as exhibited in computer games? Can these mechanisms be modeled? What is the evolutionary function of cognitive play, and is it, on the whole, a good thing? Intended as a provocative corrective to the currently ascendant, if not dominant, cultural and ethnographic approach to game studies and play, Play Redux will generate interest among scholars of communications, new media, and film.

David Myers is Reverend Aloysius B. Goodspeed Distinguished Professor at the School of Mass Communication, Loyola University New Orleans.

Purporting to be the proceedings of a forum on Pooh convened at the Modern Language Association's annual convention, this sequel of sorts to the classic send-up of literary criticism, The Pooh Perplex, brilliantly parodies the academic fads and figures that held sway at the millennium. Deconstruction, poststructuralist Marxism, new historicism, radical feminism, cultural studies, recovered-memory theory, and postcolonialism, among other methods, take their shots at the poor stuffed bear and Frederick Crews takes his well-considered, wildly funny shots at them. His aim, as ever, is true.