Shane M.

Contains a lot of materiał comparable to other books of this type, which I was not altogether or otherwise expecting. My previous studies in conern with Spanish language, culture , and grammar (initially taking place as far back in the 1980's when I attended so-called "middle school "or "junior high" at that particularly peculiar time.) would quite possibly have been enhanced beyond measure, had this book been physically available to me & in my possesion.

Alexi Panshin's first published book, as well as his initial foray into literary criticism in concern with fellow author Robert A. Heinlein.

Hella lotta hallucinatory hijinx, all the way around these 192 pages, and then some. Getting high on this kinda sci-fi is the ultimate journey to the "center of the mind," as far as these short forays into both drug-induced madness & mindfulness artfully allow.

Alexi Panshin's first published book, as well as his initial foray into literary criticism in concern with fellow author Robert A. Heinlein.

A National Security Council official, a single Congressional Senate hearing, and the United States Constitution come under introspective scrutiny in this singular novel.

An unforgettable movie, paired with an unforgettable book also. I saw the movie premiere in the company of my father well ahead of the book. The paperback itself, as was issued by Pocket Books, was given me by my best friend in high school for my 14th or 15th birthday; ironically he wasn't a discerning reader, nor did he believe I ought be a discerning reader either.

Brings back memories, both good & bad, from the late 70's & early 80's; a vulnerable (and perhaps also venerable) time for me as a teen.

I would have wanted to be an internal part of the future rather than simply escaping it through the motion-picture movie medium.

The ten pieces of short fiction in this volume adapted for television broadcast include:

"AUTOFAC": {introduction by Travis Beacham] "THE COMMUTER": [introduction by Jack Thorne] "EXHIBIT PIECE": [introduction by Ronald D. Moore] "THE FATHER THING": [introduction by Michael Dinner] "FOSTER, YOU'RE DEAD!" [introduction by Kalen Egan & Travis Sentell] "THE HANGING STRANGER": [introduction by Dee Rees] "THE HOOD MAKER": [introduction by Matthew Graham] "HUMAN IS": [introduction by Jessica Macklenburg] "THE IMPOSSIBLE PLANET": [introducton by David Farr] "SALES PITCH": [introduction by Tony Grisoni]

Utterly outstanding for a book of this type, and also utterly reminiscent of William Faulkner's literary masterpiece, "AS I LAY DYING."

Equal parts "1984" by George Orwell, "Camp Concentration" by Thomas M. Disch, and "Farenheit 451" by Ray Bradbury.

Takes place on an island where even the most inconsequential of objects disappear, along with any memories that any person wishes to associate with said objects, beginning with birds.

The "Memory Police" as referenced in the title, are there to force one to forget to which in turn forces everyone on this island to be forgotten, so it would seem.

The history and forms of haiku and related Japanese poetry types are discussed here, & there remains within this book a lot of name-dropping amongst non-Japanese practitioners of this enduring and resilient art form.

Perhaps the most interesting part of this book remains the part where North American and European variations of this form are discussed, as well as contemporary non-Japanese practitioners of those same forms utilized within the context of poetic literatures within the English speaking world.