In the aftermath of 9/11, the potential terror of weapons of mass destruction--from nuclear, biological, and chemical to dirty bombs--preoccupies national security experts. In "Chemical Warfare," Frederic J. Brown, presents a cogent, innovative framework for understanding the historical forces that have restrained the use of WMD and how they continue to have relevance today. Analyzing both world wars, he argues that the restraints on use were complex and often unpredictable and ranged from the political to the technological.

The author offers a detailed examination of American chemical warfare policy as it was shaped by industry and public sentiment, as well as national and military leaders. The organization of the book into three parts reflects the importance of battlefield experiences during the First World War and of international political restraints as they evolved during the interwar years and culminated in "no first use" policies by major powers in World War II. Part I examines the use of chemical weapons in World War I as it influenced subsequent national policy decisions. Part II focuses on the evolution of political, military, economic, and psychological restraints from 1919 to 1939. Part III discusses World War II during two critical periods: 1939 to early 1942, when the environment of the war was being established largely without American influence; and during 1945, when the United States faced no credible threat of retaliation to deter its strategic and battlefield use of chemical weapons. Written at the height of controversy about the U.S. use of chemicals in Vietnam, "Chemical Warfare" offers a valuable historical perspective, as relevant now in its analysis of chemical and also nuclear policy as it was when first published.

In the aftermath of 9/11, the potential terror of weapons of mass destruction--from nuclear, biological, and chemical to dirty bombs--preoccupies national security experts. In Chemical Warfare, Frederic J. Brown, presents a cogent, innovative framework for understanding the historical forces that have restrained the use of WMD and how they continue to have relevance today. Analyzing both world wars, he argues that the restraints on use were complex and often unpredictable and ranged from the political to the technological. The author offers a detailed examination of American chemical warfare policy as it was shaped by industry and public sentiment, as well as national and military leaders. The organization of the book into three parts reflects the importance of battlefield experiences during the First World War and of international political restraints as they evolved during the interwar years and culminated in "no first use" policies by major powers in World War II. Part I examines the use of chemical weapons in World War I as it influenced subsequent national policy decisions. Part II focuses on the evolution of political, military, economic, and psychological restraints from 1919 to 1939. Part III discusses World War II during two critical periods: 1939 to early 1942, when the environment of the war was being established largely without American influence; and during 1945, when the United States faced no credible threat of retaliation to deter its strategic and battlefield use of chemical weapons. Written at the height of controversy about the U.S. use of chemicals in Vietnam, Chemical Warfare offers a valuable historical perspective, as relevant now in its analysis of chemical and also nuclear policy as it was when first published.

Mystery and science fiction writer Fredric Brown (1906-1972) remains best-known for his short fiction. His story "Arena" (in this volume) became the basis for a "Star Trek" episode of the same title. "Arena" was also voted by the membership of the Science Fiction Writers of America as one of the twenty finest SF stories of all time.

In addition to "Arena," this volume contains five more of Brown's classic tales: "Daymare," "The Little Lamb," "The Geezenstacks," "The Hat Trick," and "Don't Look Behind You."

The Anthology of Sci-Fi V27 is a collection of ten Sci-fi stories from some of the best writers of the past century. Included are: Zen By Jerome Bixby, Of Stegner's Folly By Richard S. Shaver, Hall of Mirrors By Fredric Brown, Two Timer By Fredric Brown, The Draw By Jerome Bixby, The Holes Around Mars By Jerome Bixby, Where There's Hope By Jerome Bixby, Keep Out By Fredric Brown, Happy Ending By Fredric Brown, Earthmen Bearing Gifts By Fredric Brown.

It was the figure of a girl, her arms thrust out to ward off the ripper... her body distorted, rigid with terror... her mouth open in a silent, eternal scream. Originally published in 1949.

From legendary master Fredric Brown An ex-newspaperman finds crime going on, based on radio scripts he wrote.

1948 Edgar Award Winner Ed Hunter is eighteen, and he isn't happy. He doesn't want to end up like his father, a linotype operator and a drunk, married to a harridan, with a harridan-in-training stepdaughter. Ed wants out, he wants to live, he wants to see the world before it's too late. Then his father doesn't come home one night, and Ed finds out how good he had it. The bulk of the book has Ed teaming up with Uncle Ambrose, a former carny worker, and trying to find out who killed Ed's dad. But the title is as much a coming-of-age tale as it is a pulp.

With no more room left on Earth, and with Mars hanging up there empty of life, somebody hit on the plan of starting a colony on the Red Planet. It meant changing the habits and physical structure of the immigrants, but that worked out fine. In fact, every possible factor was covered -- except one of the flaws of human nature. . . .

For an instant you think it is temporary blindness, this sudden dark that comes in the middle of a bright afternoon.

It "must" be blindness, you think; could the sun that was tanning you have gone out instantaneously, leaving you in utter blackness?

Then the nerves of your body tell you that you are "standing," whereas only a second ago you were sitting comfortably, almost reclining, in a canvas chair. In the patio of a friend's house in Beverly Hills. Talking to Barbara, your fiancee. Looking at Barbara -- Barbara in a swim suit -- her skin golden tan in the brilliant sunshine, beautiful. . . .

If you had to give your life so that you could live it over again -- would you? Could you? "Should" you?

Mars had gifts to offer and Earth had much in return -- if delivery could be arranged! But this is a Fredric Brown story -- and you "know" that a perfect setup doesn't follow through in a Fredric Brown story. Something really and truly terrible is about to happen. Like, maybe the end of the world. Or worse!