Jayaprakash Satyamurthy
Knivesout no more
I always see a lot of Heinlein defenders rushing to point out that the ideas espoused in his books are not his own - when they find these ideas hard to defend. I just thought I'd mention that.
I find many of the ideas contained in his later novels simply grotesque; I disagree with many of the ideas in his earlier novels. I'd still say he's central to any understanding of the history of the SF genre.
He was a great storyteller at least in the earlier part of his career, charting out one of the more sweeping and exciting future histories in the genre, he wrote some great YA novels. In his latter career he helped prove the point that SF could be as much about political, social and philosophical debate as gadget speculation and high adventure.
However, everything following Stranger In A Strange Land is markedly weaker than his earlier material as a story. A novel like The Number Of The Beast does his reputation no favours and I Will Fear No Evil needed to be several hundred pages shorter.
There is bothersome gender business throughout his body of work (I find the 'love affair' in The Door Into Summer as fundamentally problematic as the relationships at the centre of Lolita or The Time-Traveller's Wife) and I don't think it helps or is required to exonerate Heinlein of ever, ever having had a less than awesome and laudable thought in order to appreciate him both for his standing in the SF pantheon and his very considerable body of entertaining, engaging and thought-provoking work.
I find many of the ideas contained in his later novels simply grotesque; I disagree with many of the ideas in his earlier novels. I'd still say he's central to any understanding of the history of the SF genre.
He was a great storyteller at least in the earlier part of his career, charting out one of the more sweeping and exciting future histories in the genre, he wrote some great YA novels. In his latter career he helped prove the point that SF could be as much about political, social and philosophical debate as gadget speculation and high adventure.
However, everything following Stranger In A Strange Land is markedly weaker than his earlier material as a story. A novel like The Number Of The Beast does his reputation no favours and I Will Fear No Evil needed to be several hundred pages shorter.
There is bothersome gender business throughout his body of work (I find the 'love affair' in The Door Into Summer as fundamentally problematic as the relationships at the centre of Lolita or The Time-Traveller's Wife) and I don't think it helps or is required to exonerate Heinlein of ever, ever having had a less than awesome and laudable thought in order to appreciate him both for his standing in the SF pantheon and his very considerable body of entertaining, engaging and thought-provoking work.