Kimball has plenty to say, and I could take just about any page I've read so far and lift out something that I could comment about. So far I only have some minor criticisms. Kimball is quite right to point out that we are living in a post-xtian society. The only qualification I would add, and which is one I suspect Kimball would agree with, is that not all parts of the country are equally post-xtian. It depends much on where you are.
Now Kimball lives in Santa Cruz, California, which is a town with a big University of California campus. Considering that the country's educational institutions, its colleges and universities, have been in the tight, iron-fisted grip of the Leftist thinking for years and years now, it's little wonder that Kimball will have run into more than his fair share of young students who have been very successfully
Secondly, Kimball makes a great deal out of the distinction between the "Modern" and the "Post-Modern". I think he overblows the dichotomy somewhat — no, maybe he overblows it way too much. If Kimball were to say that Land-In-Between, for example, has more churches because it happens to be more "Modernist", well, it would sound to me like he had committed himself excessively to a simplistic, monotone theory. Furthermore, for every item he points out as being peculiarly "Post-Modern" in character (and supposedly antithetical to "Modern"), well, I think I could dig up dozens of antecedents, going as far back as the early 20th, 19th, and even the 18th Centuries. There was plenty of intellectual ferment back in the 19th Century that had a definite feel about it that is similiar to those things Kimball categorizes as "Post-Modern". For example, one could begin by looking at how Romanticism developed in the 19th Century, and how it entangled itself in everything from art to philosophy to religion to politics. The "upper story leap" that Francis Schaeffer once described has alway been around in some form in "Modernism", even going way back. So, anyhow, I still stand by my contention that "Post-modernism is simply Modernism with more cowbell". The cowbell has always been there; it's just louder nowadays. Kimball seems to hear just it, drowning out the rest of the music. In the end, Sagan and Derrida are simply flip sides of the same secularistic coin, and not everything under the sun is entirely new.
Finally, the one thing I would criticize hotly about the book is some of the dorky graphical artwork that Zondervan, the publisher, decided to use. It was very unfortunate. For the life of me, I can't see how anyone would have liked it.