Books by Robin Bright

Sarah gets naked. She takes off bra and pants at last. Before that she was wearing jeans and a T-shirt. Her hair is elaborately coiffured for a collegiate girl and she has to unpin a few layers of styled hair atop her head. It`s longish and blonde and now falling about her shoulders in the usual way of California sunshine blondes supposedly unaware of how gorgeous they are. She wears socks and sandals rather than stockings and shoes. Her toes are painted we notice before she removes her sandals. She has some unostentatious jewelry; earrings, rings of indeterminate meaning, a pendant on a chain about her neck, a watch with a gold face and a blue leather strap that might be denim and coordinated with the blue of her jeans. The camera doesn`t overly dwell on her nudity but she`s clearly nude from behind and her breasts aren`t hidden from view although the viewer is rather enticed than treated. There`s atmospheric music that suggests suspense. Something horrific is about to occur. Sarah is the focus of some dreadful horror that`s to transpire and we feel protective towards her despite the truth that there`s nothing the audience can do to help her escape.

Onan on with Snow White: the never ending story. Fact and Fiction examines the blizzard, and wonders if they'll get the drift by the fourth storey. Can the church recover from its shriveling members? That '77 TV run, Logan's Run, about a killer who wasn't born in Logan airport's toilet, Boston, Massachusetts. Just run that by us again. Cigs cigs cigs, 'the number of a man is the number of the beast' (Rev: 13. 8), and no one may buy if he doesn't have the dragon's smoke, 'Surely, this was the snuff, God?' Fact and Fiction looks at soccer and examines the behavioralist perspective that the ball is a fertilizing sperm and the net is a girl, and rejects it for the more exciting theory that the balls are the girls' and the nets at either end are the ball snorting nostrils of the beast of Revelation. In the novel The Number Of The Beast by US' science fiction writer, Robert A. Heinlein (1980), two couples quarrel in the multiverse, where all possible worlds including those in fiction exist, and the enemy is 'the beast', a hermaphrodite. Bred as a single male brained creature wearing each other's clothes in TV transvestism for war, Fact and Fiction can understand why the TV's upset.

If Demi has a semi in Beckham, is it a manifestation of Ialdabaoth, the devil-worshiping Mason's demi-urge? First Foot doesn't mind Tolkien Turkey, and asks the question: was Traci Lords of the Rings? It's 12" to the Foot as a rule, and despite Jennifer Aniston's wearing a tie for the cover of January 2009's GQ, it's still not Ted. Looking with retro spectacles at Spice Girls, First Foot said, 'Look at the brains on that!' God goes down like a lead balloon with Led Zeppelin, and Pam Anderson is voted by women as 'The 20th Century's A Bit O' Me'. It's Rock `n` Roll, and First III Foot only stones adulterers it doesn't like.What's Rob Lowe doing on a plane with the 9/11 terrorists, apart from researching his role as Middle Number Two in Goldmember (2002)? All this and more as the Foot's shoe-horned in as it boots up. Why's a plum voiced Englishman hired as a GB proper gander, and the director has 'chippy' Miley Cyrus put in a cage, if 'Can't Be Tamed' (2010) isn't aimed by the KGB? Who ate Madeleine McCann? First III Foot rubber necks with the rest to see if Jo Guest could always see her friends going in and out all the time from where her head was at in the 1970s - and behind ...

Seeing how far the race will go in Death Race 2000 (1975), or examining trannies and TVs to hear what isn't worth seeing, First Foot is right there. Looking at our 'History and Moral Philosophy' course notes, after a lecture by Lieutenant Colonel Jean V. Dubois (Retired) of Robert A. Heinlein's Starship Troopers (1959), First Foot observes God's prohibitions, and has something else revealing to contribute, 'Thou shalt have no false guards before me.' Is the Hungarian word, 'élelmiszer', which means 'supermarket', suggesting that Heinlein's long-lived almost immortal, because rejuvenated periodically character, Lazarus Long (L.L.), a miser? Would you rather have Katherine Ross as a Stepford wife or Nicole Kidman? First Foot is there to help judge Ira levin. As the Starship Troopers drop ever closer to Klendathu, it's heads up with First Foot II.

Ironing the bugs out of Robert A Heinlein's Starship Troopers (1959), or wondering if Nova has nuts of her own in Planet Of The Apes (1968), First Foot has been there. If it's trying to understand how it is that Peter Parker has enough sense to be seeing Kirsten Dunst, but wants to climb walls like a spider, or whether the black squid headed Bunraku puppeteers in the Kate Bush video for her single release, 'Hammer Horror' (1978), are still invisibly manipulating her, First Foot has something more revealing to contribute. The damned kids are still going cuckoo in Midwich, according to John Wyndham's The Midwich Cuckoos (1957), while Harley Quinn is still persuading everyone that life is worth living to the full with Suicide Squad (2016), and Poe tries to keep a straight face as the blade dips ever lower towards his abs in The Pit and the Pendulum (1961), so leaving First Foot with but a leg to stand on when it comes to having more of an opinion than is meat to the eye.

Splurt! III is a further article splurge on pop culture for those who want to see it go through the roof; land on the moon, and exit the solar system. Spurt! III examines the legitimacy of Doctor Who's calls for assistants in the absence of full frontal nudity. Does Buffy The Vampire Slayer represent Sarah Michelle Gellar's stake in women? Is SMG a legitimate LGBT offshoot? Splurt! III looks up Paris' skirt as she's getting out of a car with Britney, while listening to 'Stars Are Blind', and wonders how it is that the knickers on the back seat are still visible. It's all gone a bit too far, and it's going to go a lot further still.

The crews aboard the `copters take off their headgear relaxedly. They`re all women. Attractively so. The women amongst the hostages gravitate towards them in a friendly way as compatriots would. The men look vaguely displeased and glower at each other. The women ignore them. Some of the men gather in a small group and look intensely into each other¿s eyes as if they have something of great unspoken moment to communicate. Others of them stare angrily at their feet in their shoes. A few are seen staring out of the `copter at the streets far below and the buildings as they zoom past on their way elsewhere. The giant blue birds seem to be heading off towards the mountains that can be seen close to the city from this perspective. But as they near one of the giant hotels on the periphery of the metropolis near the sea and the beach it becomes clear that the machines are going to land there. The rotor blades flip up above the hotel rooftop and the `copters descend noiselessly. The women in their blue suits disembark and begin walking with the passengers over to a door in the roof which has an elevator inside.

From the sound of the flute, it`s that one-holed instrument that she`s interested in. There are no words spoken by her mouth, and her features can be seen warmly smiling above the deeply centered love that the audience can now see him feeling as it wells up out of the calm blue sun within his vision console at his heart's seat. `She wasn't alone I perceived without perceiving - and what I could see of her wasn't there, it was an image on my forebrain`s console; whether it was she - or something else - that was in the room with me where I lay.` The image spoke,`You are to calm yourself over the operation. You won`t be hurt. My helpers will bring you to where I am. It isn't far. Not to your time sense: but perhaps to your sense of distance it should seem much further.'

'G. G. Hurrihome was looking up at the moon from his crater in Los Angeles, California, on the west coast of the United States of America, or at least he was trying to, because the seagull shit on the window was prevalent enough to interfere with his appreciation of the bone white sphere with his face on it.' It's G.G., and more in Apple lone and Mother stories where Biff Blunt's features can also be ogled, 'Having biffed, Biff biffed on with his micre-corder. Holding the ring on his finger that contained the voice-activated recording device, Biff bluntly began to speak, "The eagle was the symbol of men, and the Al Uqab was female, which accorded with the Jews' escape from Egypt's Pharaoh Thutmose III, when it was 'the feminine spirit of God', 'the Shekinah', that is, the 'spirit mother' leading them to Palestine." Biff consulted his Bible again. Uttering sharply, "Exodus: 29: 46," Biff then spoke the word, 'Sakina', aloud " ¿¿¿¿¿ ", reading from his notes in Arabic, "She is 'tranquility' amongst the Moslems of the nations of Islam, whereas the Al Uqab approximates to what the west calls a 'muthah', an Afro-American term for a mother's physical defense of her young."

In ¿Castration Complex¿ MAP returns to the past to discover a more than dark secret, and in ¿Deus Ex Machinä the secret becomes ever darker. In ¿Galactic Guardian¿ the darkness of schizophrenia looms, while in ¿If music be the food of love ¿¿ space cowboys ride the range once more. In ¿Little Red Riding and Robin ¿ Hoods¿ some nursery crymes are committed, and in ¿Love Bugs¿ MAP irons out a few. In Mobile Armored Personnel (MAP) our hero indulges in some mighty space opera, while ¿Mythopoeä is much more of a cerebral trip. ¿Special Angel Service¿ sees a return to space operatics, and ¿Supramazonic¿ is in the tradition of Japanese Manga. In ¿The House that Map Built¿ we find an ancient shoggoth in its labyrinth, before ¿Valhalla For Starters¿ for returning space opera buffs. In ¿Baby MAP¿ our hero returns to his childhood, and in ¿Mapinä he experiences gender education. An evil alien is encountered in ¿The MAP Of The Evil Alien¿, and in ¿¿Ride!¿ she said¿ MAP doesn¿t argue. Finally, in `Well, it was like this doc . . .` MAP meets the friendliest alien ever, and she isn¿t ET!

Because Satan had been an angel, and was then a serpent, Biffer supposed that angels had been serpents, and the history of the Mesozoic period of Earth`s evolution agreed. Saurians were the dominant life form on Earth 248 M.a., while hominids didn`t appear until 220 M.a., so there`d been plenty of time for the saurians to develop space travel and leave to colonize the planets amongst the stars. Read more of Biff Splint's fabulous insights within the pages of, Apple stew and Bother stories, and also the conclusions of Biff Blunt's amazing research thesis at his local University in Juniperberg, California county, Free Orange State, because they gave you one every summer. Biff had been told by his supervisor, Ace Beaver, that it`d to be reduced by 900, 000 words, `Although it used to be that theses could be of any length, gangsters rule, which means that everybody not only has to pay for everything twice, but that they have to keep paying for everything, no matter how long they live, because that`s how gangsters thrive.' Biff was trapped. 'So? First I have to write a million words. Tall order.'

¿The starships were gone for long ages, and the people of the Earth learned many of its secrets, which they called supernature, or mother science, and they bred huge spiders to catch whatever appeared in the heavens above and beyond the blue skies and pinkly luminous sun-burnished clouds of the planet. Occasionally there¿d be some furor skywards and the peculiar mass of the intelligent arachnid would be scene scurrying across its invisible web towards a starship caught in its web. It¿d become a part of the Earth¿s scientific ecosphere that returning ships could rely on the spiderly superscience of nature to give them a safe harbor. The starships would hang there in the silvery clouds as dark shapes beneath the bone white moon; as flies trapped in ice, their location pinpointed by their relation to the constellations of the diamond bodies of the stars. The starship Perseus, kept hanging amidst the fogs about the moon, its location had by reference to its namesake constellation, Perseus, was all very fine and good from a romantic perspective, but the engines were cold and dead, and the vessel couldn¿t any longer reach the belt of Aurora to escape with its crew beyond the barrier.'

Scenes of UFOs descending with silver suited space aliens disembarking, or little green men and other types and varieties commonly supposed to emerge from flying saucers. Amid stereotypical Hollywood, 'Babylon', drug orgy scenes a smiling husband and wife sit at a dinner table with their two regulation kids and spear and chew thoughtfully with their forks at the undistinguished meat. It`s surrealism to a high degree of banana soufflé.

G-Eazy is the guest rap artist on Britney Spears`song, `Make Me` (2016), and apart from the explosive lyrics, G-Eazy`s rap references George Jung who, a well-known cocaine dealer, was sentenced to 60 years at Otisville Correctional Facility in Upstate New York, `I crossed an imaginary line with a bunch of plants!` Cocaine was the original `snuff`, now made from ground tobacco. Adolf Hitler, elected leader of the German National Socialist (Nazi) Party, became dictator after the election of 1933, and had chemists make the synthetic drug amphetamine as a cocaine substitute. The history of the Nazi Party`s pogroms against the Jewish `chosen people` of the Bible, the Jews, suggests connections with illegal `snuff` movies, which are films made of killing, and recorded largely as a form of entertainment to be shown in private cinemas, or on video at home. Since the Empire of ancient Rome built amphitheaters, people have watched others being made to kill each other. G-Eazy raps on 'Make Me', 'I've always wondered what was off limits.' Let's see...

Little Red Riding Hood is carrying her wicker basket along the forest's winding path to grandma's house. She`s so called because of the cape she always wears, clasped at her throat by a golden brooch, made by mountain elves and cast in the shape of a dragon with what isn`t totally obvious to an objective scrutiny its penis in its mouth and that, as one looks at it, grins back and winks conspiratorially.

It's a 1970s school playground at an English Comprehensive with concrete and white paint indicating where basketball and soccer equipment can be used. The schoolchildren are busily plaguing each other while a small knot of more knowing adult seeming youths gather together in a tight band and begin chanting, `We won the war in nineteen fifty-four.` One of the boys tries to make a correction, `Shouldn't that be nineteen forty-five? Nazi Germany was defeated in 1945, wasn`t it? The Second World War? Nineteen thirty-nine to nineteen forty-five?' The chant goes on, and on with little or no variation. The smallest boy in the playground knew a different story, but he wasn't telling. Instead, he cast his mind back to a time before, a time when he'd been safe and happy, a place in which he'd been cared for by tall blonde men and women who one day told him he was going to a place called Earth.

Britney Spears` appearance on the cross of Jesus on the cover of the video single for the song, `Piece Of Me`, from the album, Blackout, precedes her songwriters` lyrical description of what her video directors depict as the consequences of the Earth`s acceptance of fascism, which is ultimately Satanical, because it promotes killing for the entertainment of an increasingly non-human parasitoid audience: `You wanna piece of me?` Although the video age was lauded as affording the opportunity to people to own and buy the movies and pop video recordings that they wanted to see repeatedly, recorded film was also the medium of the `snuff` genre, which was the recording of real life killings to be shown as entertainment to the parasitoid audience:`Your candle burned out long before your legend ever did.`5 Elton John`s lyric to `Candle In The Wind` (1973) originally lamented the death of Marilyn Monroe, the Hollywood sex symbol found dead in the nude in 1962. However, it was also used to lament the death of the English Princess, Diana, whose car crashed in the Pont D` Alma tunnel in Paris, France, pursued by paparazzi trying to get a shot in in 1997.

The forms of the aliens are revealed amidst the alien artifacts, working and communicating, while the WASP Dictatorship idyll of genetically engineered superbeings are depicted in typically fascist scenes with beachballs and swimming pools familiar from the 1930s. MAP and Evie are physically very close indeed to the appearance of the alien life forms; implying that the aliens are in fact more human than the WASPs: 'The rising self-esteem of the Asian nations - due largely to the success of the trade-wars waged by the Sino-Nippon technopolies - had led them to reject the West's cultural hegemony. However, the rest of the world's women were still fashion victims, succumbing to fetishistic decadence, becoming slavish followers of the cult of the stiletto-teetering arse-pouter.'

The single great eye of the spaceman's visor was the most idolized image of America in the 20th century, and Britney Spears' appearance in her video 'Oops! ... I Did It Again' is preceded by her spaceman's discovering a miniature cameo picture or icon of her in the sand, which marks the encounter Christian rather than idolatrous, because such icons are acceptable if spiritually meaningful. Descending inside her giant's ring at the beginning of the video, Britney represents the marriage of Venus Aphrodite; 'the pearl of great price' of the Bible: 'woman's seed' pearl: 'Again, the kingdom of heaven is like a merchant in search of fine pearls; on finding one pearl of great value, he went and sold all that he had and bought it.' (Matt: 13. 45-6) In terms of ¿seed¿ pearls, music listeners need look no further than Spears¿ symbolic lyrics and video imagery to find wisdom.

A dark cloud of remembered pain passes swiftly across the cerulean imperiousness of MAP`s previously untroubled gaze. There`s a sudden shift of focus as the viewer is vouchsafed a vision of some point in time, past or future. What seems like a wheeled camera dolly, carrying the equipment for the making of a film, is descried hurtling through successive anciently dirty and derelict tunnels alternating with gleamingly modern and technologically sophisticated tunnel environments containing people in barely descryable poses and costumes. It`s a journey through MAP`s mind, a MAP mind, rather than a mind map, and a camera dolly hurtles on its wheels until a scene appears of MAP being tortured by Subverters in a Medieval dungeon environment with barbaric implements and machinery that the Subverter personnel familiar from the pictures pinned to the wallspace of the lab are employing.

The footsteps cease at the door and a figure can be seen outlined through the frosted glass panel. The handle turns and the woman walks in. Rob disappears behind a wall of jars and tubes; he can be heard at intervals, shuffling about, running water into sinks, generally keeping himself out of harm's way. MAP, on the other hand, seems merely to adjust his loose stance by the bench in order to confront his uninvited guest, 'Pat Horner! What brings you to this neck of the woods?' There are images from nature of slugs with salt on their tails curling up in his mind as Pat moves past him; the clicking of her heels making it impossible to concentrate. Map holds his head in his hands visibly trying to concentrate. It`s as if someone is dragging their nails across a chalk board, and indeed the audience hears the sound and sees the horrendous image of a woman`s nails dragging screaming notes from a chalk board as she drags her fingernails down.

The Orphan waved the fingers of his right hand in what was barely understandable, in the swift complexity of his dexterity, as a deliberate symbolic pattern of digital movement that, recorded and decoded, would reveal the secrets behind what had just been conjured into being. For there, in their midst, wearing a secretive smile and darting a forked red tongue between the twin points of its sharply elongated canines, she sat. Sitting slightly forward upon the now apparently solid air through which she had so spontaneously emerged, her tail cracked back and forth over her shoulder in impatient impish glee. The diamond of its tip seemed to take a perverse delight in occasionally entwining about the slender waist of its owner, to faun upon the treasures concealed beneath the peachily purple furze of her perfectly perfect derriére. Laughing silently, tail now snuggling between her legs, she threw back her mane of reddish black hair, revealing small apple tight breasts, the pointy nipple cones thrusting skywards as, throat bared to the heavens, the glee-child, legs now thrown apart in abandonment, exposed the root of her desire.

The immortal machine robot Data, from Star Trek: The Next Generation, is the dream of the human who needs to be cared for as much as humans need the technology of rejuvenation and medical science to prolong life in longevity, but the spirit must be harnessed if such high objectives are to be realized, `I am superior, sir, in many ways. But I would gladly give it up to be human.' Data is a better human because he`s a better machine or robot, but the male oriented fiction demands that Jesus` teachings be understood as human sacrifice, and so Data asks to die, because Star Trek writers represent the false perspective that the physical body isn`t heaven bound; despite hundreds of TOS scenes featuring the transporter of the starship Enterprise teleporting humans from planets to take them through galaxies to other planets, `Mister Spock, the Captain, Lieutenant Uhura, and Chekov. they vanished. They got onto the transporter platform and they just vanished.'