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For three decades science fiction legend Alan Dean Foster has captivated readers around the world, from his debut classic The Tar-Aiym Krang and his inspired scenario for the first Star Trek movie to a host of New York Times bestsellers, including Splinter of the Mind’s Eye and Flinx in Flux. In this collection of twenty brilliant odysseys of the imagination, Foster once again soars beyond the limits of reality—where the real thrills begin. . . . NASA Sending Addicts to Mars!: It was the show more most insane idea in the annals of space travel—and the only one that would work. Diesel Dream: Sometimes on dark, lonely highways dreams do come true, and this trucker’s hope was the best one of all. Sideshow: Flinx hadn’t a clue about the alien dancer, but Pip knew trouble when she saw it. Empowered: A magnificent male discovers the not-so-super part about being a superhero. The Question: A bold adventurer determines to solve one of life’s profound mysteries. . . . and fifteen other amazing stories!. show lessTags
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Collection of short stories.
contents:
# Lay Your Head on My Pilose
# 22 • Diesel Dream
# 34 • Lethal Perspective
# 43 • Laying Veneer
# 55 • Betcha Can't Eat Just One
# 65 • Fitting Time
# 80 • We Three Kings
# 94 • NASA Sending Addicts to Mars! Giant Government Coverup Revealed!
# 109 • Empowered
# 123 • The Kiss
# 128 • The Impossible Place
# 145 • The Boy Who Was a Sea
# 159 • Undying Iron
# 188 • The Question
# 200 • The Kindness of Strangers
# 216 • Pein bek Longpela Telimpon
# 238 • Suzy Q
# 249 • The Little Bits That Count
# 261 • Sideshow
I'd only read one of them before ("The Boy Who Was a Sea").
Overall, I thought the collection was fairly mediocre. And, apparently, Foster rather agrees (I think). In the show more introduction, he talks about how, in his viewpoint, short stories are like "practice" for writing longer works, and makes an analogy about how sometimes an artist's sketch in a notebook turns out to be better than the final painting; so, sometimes a short story turns out to be great.
From what I've read in the past, I'd say most authors disagree. Those who write short stories do not consider them to be "lesser," in fact, I've read those who are of the opinion that only more-accomplished writers can really succeed at the more-difficult format of the short story.
I also thought the collection was a bit heavy on the inclusion of celebrities and pop culture in general. Not my kinda thing. I found it mystifying again, in one of the story introductions, where Foster was saying how he gets tired, sometimes, of trying to make his stories "contemporary" and he longs for the "Sense of Wonder" writing that truly transports the reader to another place and time. (The story this is introducing, btw, fails in that regard ('Undying Iron'), IMO) But still, I was left wondering - so WHY "try" to be contemporary, if that's not what you actually like to write! I know Foster has published several very commercial works (movie tie-ins and such), and I guess he is attempting (and succeeding) to just be commerically marketable?
One story deals with the pure SF/fantasy-adventure characters Pip & Flinx, whom he's written several novels about. That wasn't bad - I may check more of them out sometime. show less
contents:
# Lay Your Head on My Pilose
# 22 • Diesel Dream
# 34 • Lethal Perspective
# 43 • Laying Veneer
# 55 • Betcha Can't Eat Just One
# 65 • Fitting Time
# 80 • We Three Kings
# 94 • NASA Sending Addicts to Mars! Giant Government Coverup Revealed!
# 109 • Empowered
# 123 • The Kiss
# 128 • The Impossible Place
# 145 • The Boy Who Was a Sea
# 159 • Undying Iron
# 188 • The Question
# 200 • The Kindness of Strangers
# 216 • Pein bek Longpela Telimpon
# 238 • Suzy Q
# 249 • The Little Bits That Count
# 261 • Sideshow
I'd only read one of them before ("The Boy Who Was a Sea").
Overall, I thought the collection was fairly mediocre. And, apparently, Foster rather agrees (I think). In the show more introduction, he talks about how, in his viewpoint, short stories are like "practice" for writing longer works, and makes an analogy about how sometimes an artist's sketch in a notebook turns out to be better than the final painting; so, sometimes a short story turns out to be great.
From what I've read in the past, I'd say most authors disagree. Those who write short stories do not consider them to be "lesser," in fact, I've read those who are of the opinion that only more-accomplished writers can really succeed at the more-difficult format of the short story.
I also thought the collection was a bit heavy on the inclusion of celebrities and pop culture in general. Not my kinda thing. I found it mystifying again, in one of the story introductions, where Foster was saying how he gets tired, sometimes, of trying to make his stories "contemporary" and he longs for the "Sense of Wonder" writing that truly transports the reader to another place and time. (The story this is introducing, btw, fails in that regard ('Undying Iron'), IMO) But still, I was left wondering - so WHY "try" to be contemporary, if that's not what you actually like to write! I know Foster has published several very commercial works (movie tie-ins and such), and I guess he is attempting (and succeeding) to just be commerically marketable?
One story deals with the pure SF/fantasy-adventure characters Pip & Flinx, whom he's written several novels about. That wasn't bad - I may check more of them out sometime. show less
Anthology, purchased for the single Flinx & Pip story which was very good. The rest of the stories were interesting and enjoyable.
SF, anthology. Some very interesting twists in these stories. Very enjoyable. A couple of Flinx and Pips thrown in, also.
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364+ Works 73,729 Members
Bestselling science fiction writer Alan Dean Foster was born in New York City in 1946, but raised mainly in California. He received a B.A. in Political Science from UCLA in 1968, and a M.F.A. in 1969. Foster enjoys traveling because it gives him opportunities to meet new people and explore new places and cultures. This interest is carried over to show more his writing, but with a twist: the new places encountered in his books are likely to be on another planet, and the people may belong to an alien race. Foster began his career as an author when a letter he sent to Arkham Collection was purchased by the editor and published in the magazine in 1968. His first novel, The Tar-Aiym Krang, introduced the Humanx Commonwealth, a galactic alliance between humans and an insectlike race called Thranx. Several other novels, including the Icerigger trilogy, are also set in the world of the Commonwealth. The Tar-Aiym Krang also marked the first appearance of Flinx, a young man with paranormal abilities, who reappears in other books, including Orphan Star, For Love of Mother-Not, and Flinx in Flux. Foster has also written The Damned series and the Spellsinger series, which includes The Hour of the Gate, The Moment of the Magician, The Paths of the Perambulator, and Son of Spellsinger, among others. Other books include novelizations of science fiction movies and television shows such as Star Trek, The Black Hole, Starman, Star Wars, and the Alien movies. Splinter of the Mind's Eye, a bestselling novel based on the Star Wars movies, received the Galaxy Award in 1979. The book Cyber Way won the Southwest Book Award for Fiction in 1990. His novel Our Lady of the Machine won him the UPC Award (Spain) in 1993. He also won the Ignotus Award (Spain) in 1994 and the Stannik Award (Russia) in 2000. He is the recipient of the Faust, the IAMTW Lifetime achievement award. Alan Dean Foster's Star Wars: The Force Awakens, was a 2015 New York Times bestseller. (Bowker Author Biography) show less
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Common Knowledge
- People/Characters
- Flinx (Philip Lynx); Pip the minidrag
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