Robert Heinlein at 100

How the science fiction master created the template for our looser, hipper, more pluralist world.

Brian Doherty from the August/September 2007 issue

(Page 3 of 3)

Heinlein's other contributions to the libertarian zeitgeist include one of the epigrams of the gun rights movement, "an armed society is a polite society"-a line first published in his 1942 serial Beyond This Horizon. He was also a direct intellectual influence on many important libertarians. David Friedman, author of the anarcho-capitalist classic The Machinery of Freedom, considered Heinlein's 1966 novel The Moon Is a Harsh Mistress vital to his intellectual evolution. (One of Moon's heroes was a professor advocating "rational anarchy," partially based on Heinlein's one-time neighbor, Robert LeFevre, founder of the libertarian Rampart College.) David Nolan, founder of the Libertarian Party, got his start in political activism in 1960 sporting a self-made "Heinlein for President" button. Another Heinlein devotee was Robert Poole, longtime editor of Reason and founder of the Reason Foundation, one of the first institutions to try to effect libertarian change in the real world in a practical manner. Poole's efforts could be seen as a legacy of Heinlein's interest in the nuts and bolts of how his imagined societies would actually function.

Even though he adopted the Milton Friedmanite phrase "there ain't no such thing as a free lunch" as a slogan for his revolutionaries fighting colonial oppression in Moon, Heinlein was not deeply embedded in the economic strain of libertarianism, which stresses the importance of spontaneous order, the failures of central planning, and the efficiency of free markets. As the economist Robert Rogers has argued, Heinlein's fiction seemed to believe that it took Great Men or a single mind (sometimes human, sometimes computer) to make sure economies ran well. In a 1973 interview with the libertarian writer J. Neil Schulman, Heinlein was doubtful when Schulman referred to the greater efficiency of free markets. "I don't think the increase in efficiency on the part of free enterprise is that great," Heinlein said. "The justification for free enterprise is not that it's more efficient, but that it's free."

Heinlein was, then, his own kind of libertarian, one who exemplified the libertarian strains in both the Goldwater right and the bohemian left, and maintained eager fan bases in both camps. A gang of others who managed the same straddle, many of them Heinlein fans, split in 1969 from the leading conservative youth group, Young American for Freedom, in what some mark as the beginnings of a self-conscious libertarian activist movement. In a perfectly Heinleinian touch, the main sticking point between the libertarian and conservative factions was one of Heinlein's bêtes noires: resistance to the draft, which he hated as much as he loved the bravery of the volunteer who would fight for his culture's freedom or survival.

Heinlein the Iconoclast
The prominence of his juvenile novels and his galvanizing effect on so many adolescent fans have led many critics to condemn Heinlein's work as inherently unworthy of serious adult attention. As one scholar, Elizabeth Anne Hull, has written, "In an attempt to account for the extraordinary popularity and influence of the novels of Robert Heinlein, it would be all too easy to assert that the masses are asses and let it go at that. Those of us academics who read Heinlein are likely to admit it with an apology [and consider] our weakness in enjoying his work a minor character defect." Heinlein is indeed best approached when young, because his work appeals to that eternal youthful question: How should you live as you grow into a culture you did not make?

Heinlein does this best via his defining characteristic, one that bridges the apparent divides in his work. As William Patterson, the author of a forthcoming two-volume biography of Heinlein, told me, the best way to understand Heinlein in toto is as a full-service iconoclast, the unique individual who decides that things do not have to be, and won't continue, as they are.

That iconoclastic vision is at the heart of Heinlein, science fiction, libertarianism, and America. Heinlein imagined how everything about the human world, from our sexual mores to our religion to our automobiles to our government to our plans for cultural survival, might be flawed, even fatally so.

It isn't a quality amenable to pigeonholing, or to creating a movement around "What would Heinlein do?" As Heinlein himself said of his work, it was "an invitation to think-not to be-lieve." He created a body of writing, and helped forge a modern world, that is fascinating to live in because of, not in spite of, its wide scope and enduring contradictions.

Senior Editor Brian Doherty is the author of This is Burning Man (Little, Brown) and Radicals for Capitalism (PublicAffairs). He wrote about Heinlein in The Science Fiction Film Reader (Limelight Editions), edited by Gregg Rickman.

Discuss this article online.