Now finance has been raised, the author’s share of subsequent proceeds will be divided between The Foundation for America’s Blood Centres http://www.americasblood.org/, and Con or Bust: http://con-or-bust.org/
"Mendlesohn has burrowed into Heinlein as has no other critic. This is the most insightful consideration of RAH - themes, methods, the man - ever." - Greg Benford, Nebula award-winning author of Timescape
Robert A. Heinlein began publishing in the 1940s at the dawn of the Golden Age of science fiction and carried on writing until his death in 1988. His short stories contributed immensely to the development of science fiction’s structure and rhetoric, while his novels (for both the juvenile and adult markets) demonstrated that you could write hard SF with strong political argument. His vision of the future was sometimes radical, sometimes crosswise, and towards the end in retrenchment. He continues to influence many writers whether in emulation or reaction. Recent controversies in science fiction have involved fighting over Heinlein’s reputation and arguing about what his legacy is and to whom he belongs.
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When Robert A. Heinlein was first published in 1939, the magazine science fiction field was entering what would later be termed by many “the Golden Age.” In the late 1920s and early 1930s the magazines had been supplied by writers who worked in multiple genres. Much science fiction was thinly glossed empire romance, or invention stories in which little about the world fundamentally changed. By 1939 however, there were 15 magazine titles in print and activist editors such as Raymond Palmer and John W. Campbell Jr. argued in editorials and through editorial choices what science fiction should be.
Heinlein’s very earliest contribution to this field, “Life-line,” mimicked the accepted narratologies: an inventor declares an invention that threatens to rupture industrial peace, and is quietly disposed of, if only by fate. His stories “The Roads Must Roll” and “Blowups Happen” take the conventional focalising view of a journalist or anthropologist. Quite quickly however Heinlein began to shift the field. As more than one critic has observed a key change was in his insistence that the consequence of change was more interesting than the change itself. In stories such as “The Roads Must Roll,” “Misfit,” and “Coventry” we are introduced to the changes in the world long after they have taken place. The story is about the psychological and social affect on human beings. Heinlein helped to move the field away from stories about the future, to stories set in the future.
Heinlein produced twenty-nine stories before his engagement in the war, and another thirty-two between 1946 and 1962. He wrote in total thirty-one novels of which thirteen are usually listed as juveniles (I will be suggesting that we might add at least two more titles to the list). Add in all the essays and collections (which often contain interesting contextual reading) and there are 129 titles.
Heinlein brought to his writing a number of sensibilities and positions. He was the middle child of a middle-class but not wealthy mid-western family; he had entered the navy to get an education and had enjoyed both the process of education and the absorption into a larger body. He brought to his writing the interest in and knowledge of engineering that gave the early stories such heft: Robert W. Bly cites Heinlein’s technological engagement with the invention of atomic bombs, computers, dimensional theory, exoskeletons, generational space ships, genetic engineering, hyperspace, longevity studies, space, asteroid mining, mutation, nuclear warfare, suspended animation and time travel. Heinlein's work, particularly everything before 1960, is a part of what Boyer calls; "Fantasies of a Techno-Atomic Utopia" in which atomic power could fuel cars, change the polar ice coverage (melt it for a warmer climate, no polar bears worried about here) control the weather, and generally perform miracles.
Con or Bust raises funds for fans of colour to attend conventions, particularly in the United States. I chose this organization is that it has been active in supporting friends outside of the Anglo-American fannish community. As Heinlein was a committed internationalist for at least the first half of his writing career (the crews of his spaceships and his Patrol were from all over the world, long…
Con or Bust, Inc., is a tax-exempt not-for-profit organization (EIN: 81-2141738) that helps people of colour/non-white people attend SFF conventions. Con or Bust isn’t a scholarship and isn’t limited to the United States, to particular types of con-goers, or to specific cons; its goal is simply to help fans of color go to SFF cons and be their own awesome selves. It is funded through donations and…
Robert J. Sawyer is a Canadian SF writer who has won the Nebula, Hugo Award and John W. Campbell Awards. This week he was awarded an Aurora for the best and most compelling Canadian science fiction of the decade.
We’ve been friends for many years and a few years ago I was able to host him at my favourite independent bookshop, Big Green Bookshop in Wood Green, North London.
RJS: To me, Heinlein…
It’s national poetry day today so let’s remember the blind poet Rhysling, the blind singer of the spaceways.
Rhysling was an engineer on the Earth Mars run. Blinded in an attempt to repair the ship’s engines, he becomes a tramp, taking advantage of the right of spacemen to free passage. His story is told in “The Green Hills of Earth” (1947)
Extract from Chapter 3.
“The Green Hills of Earth…
KMM: Two full-length studies on Heinlein's work were written during his lifetime, by Panshin and Franklin. Since he died there has been Patterson's two-volume biography, and there are a lot of scholarly and fan articles. Clearly, you've read them all! Why do we need another book on Heinlein?
FJM: To start with, of the books out there on Heinlein, only two were written after Heinlein’s last novel…
These people are helping to fund Robert Heinlein.