Since 1988 I have taught hand papermaking in grades K-12 as a visiting artist in schools all over Maine, so it was with some excitement that I received Gloria Zmolek Smith's new book for review. From the first glance, I found it to be well-written, intelligently organized, and pleasantly designed. Isn't that enough? I was looking for more. Previously I had encountered two papermaking books that made an immediate, significant impact on my own art work and on the projects I do with students. I will never forget the thunderstruck moment when I read David Watson's suggestion of couching in a shallow vat (in Creative Hand Papermaking, Search Press, 1991). With this simple hint alone I reduced my work load in every teaching session; I still feel grateful. In general, his book was a liberation for me, freeing me up to experiment with fibers and methods I had not tried before. Sophie Dawson's beautiful book, The Art and Craft of Hand Papermaking (Running Press, 1992), has been, from my first view of it, a source of inspiration and pleasure, a treat to share with artists and teachers wherever I go. Would Zmolek Smith just go over well-worn papermaking territory or would she present a fresh perspective and new ways of working with children through papermaking? I am delighted to answer unequivocally that she has broken new ground and to recommend to you Teaching Hand Papermaking in the Classroom, now the third in my personal trio of must-have reference books. Like me, Zmolek Smith has several years' experience as a visiting papermaker in the schools. In her book she generously shares practical information, useful resources, and proven methods from her workshops. The book is specifically geared to working with children and to adapting projects to the needs and goals of the classroom. To this end, she includes reproducible handouts such as games, a world map, a science-of-paper reference sheet, an annotated bibliography (including videos), and a thorough list of suppliers and other resources. These are invaluable materials to share with classroom teachers, who often want to expand the hands-on art work into a history, science, or culture unit. I especially appreciated Zmolek Smith's use of many clear photographs of equipment and methods. The pictures of kids at work and of their artwork will be inspirational for teachers and parents who are about to get their fingers wet with papermaking. I was making new molds and deckles for a residency with eighth graders when the review copy of this book arrived. I immediately labeled the equipment with permanent magic marker, as illustrated, and was pleased all week to hear the word "deckle" used freely by the students, who had no confusion about the two pieces of the mould and how they fit together. Such time- and effort-saving tips are terrific for those of us whose well-worked systems always need an update. In several instances, the photos and illustrations made clear for me small bits of useful information I had encountered elsewhere previously but had not yet put to use. I found Zmolek Smith's no-nonsense approach refreshing. It is easy to imagine her success in the classroom. Her modus operandi is clear: thoroughly set up and prepare materials, then turn the kids and their imaginations loose! Regularly in the text, Zmolek Smith references in-depth sources for fundamental topics like pigmenting and sculptural techniques so that she can use her pages not to reiterate another's expertise but to detail her own. The result is a thorough and well-rounded guide to hand papermaking with invaluable and specific suggestions for adapting methods and equipment for the classroom. One chapter, "Special Tips for Teachers," covers lesson plans, volunteers, presentation of finished work, field trips, and what every teacher wants to know about, first and up front: clean up. Chapters on integrating hand papermaking with both art lessons and the basic elementary school subjects provide ammunition for artists who are promoting papermaking's versatility, and for parents and teachers who seek a spirit of creativity and collaboration in enlivening the core curriculum. While the author's "Short, Concise, Yet Very Entertaining History of Hand Papermaking" seems geared in both illustrations and reading level to sixth grade and under (she recommends reading it aloud in class), Zmolek Smith also provides a useful book list for both elementary and secondary students. Her suggestions for extension projects and assignments for paper-related units in several subject areas make a unique contribution to the hand papermaking books now available. I think you will find, as I did, that Teaching Hand Papermaking in the Classroom is a welcome new reference. This book will be useful for experienced as well as new papermakers, both in and out of the classroom. We are all asked to share our specialty sooner or later; whether you approach children as parent, teacher, friend, or visiting artist, the work Gloria Zmolek Smith has so ably compiled will show you the shortcuts straight to the smiles on kids' faces when they lift their first pieces of paper from the vat.