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The Cat Who Walks Through Walls
The Cat Who Walks Through Walls
When a stranger attempting to deliver a cryptic message is shot dead at his table, Dr. Richard Ames is thrown headfirst into danger, intrigue, and other dimensions, where a plot to rescue a sentient computer could alter human history...
388 pages, Mass Market Paperback
First published January 1, 1985
About the author
Robert A. Heinlein
949 books9,765 followersRobert Anson Heinlein was an American science fiction author, aeronautical engineer, and naval officer. Sometimes called the "dean of science fiction writers", he was among the first to emphasize scientific accuracy in his fiction, and was thus a pioneer of the subgenre of hard science fiction. His published works, both fiction and non-fiction, express admiration for competence and emphasize the value of critical thinking. His plots often posed provocative situations which challenged conventional social mores. His work continues to have an influence on the science-fiction genre, and on modern culture more generally.
Heinlein became one of the first American science-fiction writers to break into mainstream magazines such as The Saturday Evening Post in the late 1940s. He was one of the best-selling science-fiction novelists for many decades, and he, Isaac Asimov, and Arthur C. Clarke are often considered the "Big Three" of English-language science fiction authors. Notable Heinlein works include Stranger in a Strange Land, Starship Troopers (which helped mold the space marine and mecha archetypes) and The Moon Is a Harsh Mistress. His work sometimes had controversial aspects, such as plural marriage in The Moon Is a Harsh Mistress, militarism in Starship Troopers and technologically competent women characters who were formidable, yet often stereotypically feminine—such as Friday.
Heinlein used his science fiction as a way to explore provocative social and political ideas and to speculate how progress in science and engineering might shape the future of politics, race, religion, and sex. Within the framework of his science-fiction stories, Heinlein repeatedly addressed certain social themes: the importance of individual liberty and self-reliance, the nature of sexual relationships, the obligation individuals owe to their societies, the influence of organized religion on culture and government, and the tendency of society to repress nonconformist thought. He also speculated on the influence of space travel on human cultural practices.
Heinlein was named the first Science Fiction Writers Grand Master in 1974. Four of his novels won Hugo Awards. In addition, fifty years after publication, seven of his works were awarded "Retro Hugos"—awards given retrospectively for works that were published before the Hugo Awards came into existence. In his fiction, Heinlein coined terms that have become part of the English language, including grok, waldo and speculative fiction, as well as popularizing existing terms like "TANSTAAFL", "pay it forward", and "space marine". He also anticipated mechanical computer-aided design with "Drafting Dan" and described a modern version of a waterbed in his novel Beyond This Horizon.
Also wrote under Pen names: Anson McDonald, Lyle Monroe, Caleb Saunders, John Riverside and Simon York.
Heinlein became one of the first American science-fiction writers to break into mainstream magazines such as The Saturday Evening Post in the late 1940s. He was one of the best-selling science-fiction novelists for many decades, and he, Isaac Asimov, and Arthur C. Clarke are often considered the "Big Three" of English-language science fiction authors. Notable Heinlein works include Stranger in a Strange Land, Starship Troopers (which helped mold the space marine and mecha archetypes) and The Moon Is a Harsh Mistress. His work sometimes had controversial aspects, such as plural marriage in The Moon Is a Harsh Mistress, militarism in Starship Troopers and technologically competent women characters who were formidable, yet often stereotypically feminine—such as Friday.
Heinlein used his science fiction as a way to explore provocative social and political ideas and to speculate how progress in science and engineering might shape the future of politics, race, religion, and sex. Within the framework of his science-fiction stories, Heinlein repeatedly addressed certain social themes: the importance of individual liberty and self-reliance, the nature of sexual relationships, the obligation individuals owe to their societies, the influence of organized religion on culture and government, and the tendency of society to repress nonconformist thought. He also speculated on the influence of space travel on human cultural practices.
Heinlein was named the first Science Fiction Writers Grand Master in 1974. Four of his novels won Hugo Awards. In addition, fifty years after publication, seven of his works were awarded "Retro Hugos"—awards given retrospectively for works that were published before the Hugo Awards came into existence. In his fiction, Heinlein coined terms that have become part of the English language, including grok, waldo and speculative fiction, as well as popularizing existing terms like "TANSTAAFL", "pay it forward", and "space marine". He also anticipated mechanical computer-aided design with "Drafting Dan" and described a modern version of a waterbed in his novel Beyond This Horizon.
Also wrote under Pen names: Anson McDonald, Lyle Monroe, Caleb Saunders, John Riverside and Simon York.
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Displaying 1 - 30 of 808 reviews
March 1, 2024
*** 2024 reread -
I’m rereading all of Heinlein’s later works after having discovered that I could see them from a different angle. I had earlier dismissed much of his later books because of the over the top sexuality and for getting weird. Now I see better from where he was coming from and can now better appreciate what he was saying.
A friend recently lamented how Heinlein was no longer readable to him because of Heinlein’s aggressive conservatism, which he found objectionable. I have been a fan of Bob’s work for decades and I too earlier had some problems with Heinlein’s work, but conservative?
Let’s explore this. There does seem to be a frequent criticism of Heinlein’s canon for pervasive conservatism. But when we see that Heinlein, early on, featured strong female roles, people of color in protagonist roles, and was openly, satirically critical of established institutions like government, organized religion and marriage, was he really conservative? Many will point to Starship Troopers for a demonstration of his militarism, but even that revealed some satire and criticisms of an overly martial society.
Anyway.
First published in 1985, this would be the penultimate book published during his lifetime (he would die in 1988 at the age of 80) and gathered together many of the recurring characters from his long and storied career. This is about time travel, the multiverse, the “world as myth”, and other ubiquitous Heinlein themes and all rolled up in a mystery setting as our protagonists travel from a space station, to Luna, to space and beyond.
I now like how Heinlein opened up in his later books and kind of said and did whatever he wanted, there is a devil-may-care candor to his later works. Bob was always bold and courageous in his writing, and these later books, written by a man not long for this world, perhaps revealed in him an even more uninhibited humanism that was not fully developed until his final years.
*** - Original review -
There is a saying that when pizza is good, it is great, and when it’s bad it’s still pretty good. This saying may also apply to RAH titles.
This is not one of his greatest, but not bad either, pretty good. Heinlein's the world as myth concept, imaginative and entertaining is as good as his earlier work, even though this is a product of his later, weirder phase. The return of some older RAH characters is also fun. Books about time travel are always confusing, maybe by default (see Piers Anthony Bearing An Hourglass) and this one is no exception.
This one takes a while to really get moving, but at the end of the day is goo SF. Like many of his post 1970 writings, Heinlein had taken a turn towards the bizarre, but if a reader is patient enough a good read can be had.
I’m rereading all of Heinlein’s later works after having discovered that I could see them from a different angle. I had earlier dismissed much of his later books because of the over the top sexuality and for getting weird. Now I see better from where he was coming from and can now better appreciate what he was saying.
A friend recently lamented how Heinlein was no longer readable to him because of Heinlein’s aggressive conservatism, which he found objectionable. I have been a fan of Bob’s work for decades and I too earlier had some problems with Heinlein’s work, but conservative?
Let’s explore this. There does seem to be a frequent criticism of Heinlein’s canon for pervasive conservatism. But when we see that Heinlein, early on, featured strong female roles, people of color in protagonist roles, and was openly, satirically critical of established institutions like government, organized religion and marriage, was he really conservative? Many will point to Starship Troopers for a demonstration of his militarism, but even that revealed some satire and criticisms of an overly martial society.
Anyway.
First published in 1985, this would be the penultimate book published during his lifetime (he would die in 1988 at the age of 80) and gathered together many of the recurring characters from his long and storied career. This is about time travel, the multiverse, the “world as myth”, and other ubiquitous Heinlein themes and all rolled up in a mystery setting as our protagonists travel from a space station, to Luna, to space and beyond.
I now like how Heinlein opened up in his later books and kind of said and did whatever he wanted, there is a devil-may-care candor to his later works. Bob was always bold and courageous in his writing, and these later books, written by a man not long for this world, perhaps revealed in him an even more uninhibited humanism that was not fully developed until his final years.
*** - Original review -
There is a saying that when pizza is good, it is great, and when it’s bad it’s still pretty good. This saying may also apply to RAH titles.
This is not one of his greatest, but not bad either, pretty good. Heinlein's the world as myth concept, imaginative and entertaining is as good as his earlier work, even though this is a product of his later, weirder phase. The return of some older RAH characters is also fun. Books about time travel are always confusing, maybe by default (see Piers Anthony Bearing An Hourglass) and this one is no exception.
This one takes a while to really get moving, but at the end of the day is goo SF. Like many of his post 1970 writings, Heinlein had taken a turn towards the bizarre, but if a reader is patient enough a good read can be had.
June 2, 2009
What I learned from "The Cat Who Walks Through Walls":
1) If a government official refuses to speak with you, just threaten to walk out and he'll change his mind immediately.
2) A fez, not unlike Clark Kent's glasses, makes an impenetrable disguise.
3) Sexism will make a big comeback in the future. Incest, too.
4) Alternate universes and time travel can be used to fill any plot hole.
5) Cutting in line is a death-penalty offense, but murder... meh.
6) Just like in "Field of Dreams," Iowa is teh awesome.
7) What happens on Tertius, stays on Tertius.
8) Don't rent a spaceship from Budget.
9) The most important status symbol of all future societies will be the bathroom. And waffles.
10) Heinlein was a major perv.
1) If a government official refuses to speak with you, just threaten to walk out and he'll change his mind immediately.
2) A fez, not unlike Clark Kent's glasses, makes an impenetrable disguise.
3) Sexism will make a big comeback in the future. Incest, too.
4) Alternate universes and time travel can be used to fill any plot hole.
5) Cutting in line is a death-penalty offense, but murder... meh.
6) Just like in "Field of Dreams," Iowa is teh awesome.
7) What happens on Tertius, stays on Tertius.
8) Don't rent a spaceship from Budget.
9) The most important status symbol of all future societies will be the bathroom. And waffles.
10) Heinlein was a major perv.
August 15, 2008
This was my very first RAH book...the one that got me hooked. I thought it had a cool cover and was in the discount bin so I had just enough for it. I was 15. I couldn't put it down. Since then, I've read almost everything he has written and have loved every single one!
August 9, 2010
I haven't read any Heinlein previous to this novel, and I'm somewhat glad, as it gave me an opportunity to evaluate it based on its (lack of) merits as a story, rather than any fanservice appeals to classic Heinlein characters.
The story starts off as a decent sci-fi action romp. The charismatic protagonist is likable in a James Bond sort of vein, his banter with his girlfriend is punchy, his quirks are endearing.
Things start getting weird the moment another female character enters the story. Suddenly, everything that moves and has breasts is being described as "beautiful in XYZ way," and women begin throwing themselves at the protagonist, including a 13-year-old girl. (Classy!)
The story rapidly degenerates into a harem anime with occasional future-wanking ("Look this is a moon rover bus!"), at which point the entire thing shifts from 5th to 1st gear without use of a clutch. "NOW WE TIME TRAVELED TO THE FUTURE AND EVERYONE IS BEAUTIFUL AND NAKED AND THEY SAY HI BY KISSING EACH OTHER AND EVERYONE SLEEPS WITH EVERYONE ELSE AND THERE WAS A PLOT SOMEWHERE BUT WE FORGOT IT." There's a halfhearted attempt to pass off some deal about all parallel universes being the products of authors (Oh ho! I see what you did there!) that gets buried under disconnected plot points.
In the final chapters, some characters explain that most of the original plot is irrelevant. The title character is involved in the "story" as an afterthought, perhaps appropriately so. The final few pages are stream-of-consciousness and vague as to the ultimate conclusion of the story.
Overall, the (few) good parts of the book are a decent imitation of the "Retief" series by Keith Laumer, the poor (comprehensible) portions are an exercise in adolescent harem fantasies, and the remainder is a plotless, pointless, directionless exercise in incoherent rambling, with an occasional guest star from a previous Heinlein book.
Read something else.
The story starts off as a decent sci-fi action romp. The charismatic protagonist is likable in a James Bond sort of vein, his banter with his girlfriend is punchy, his quirks are endearing.
Things start getting weird the moment another female character enters the story. Suddenly, everything that moves and has breasts is being described as "beautiful in XYZ way," and women begin throwing themselves at the protagonist, including a 13-year-old girl. (Classy!)
The story rapidly degenerates into a harem anime with occasional future-wanking ("Look this is a moon rover bus!"), at which point the entire thing shifts from 5th to 1st gear without use of a clutch. "NOW WE TIME TRAVELED TO THE FUTURE AND EVERYONE IS BEAUTIFUL AND NAKED AND THEY SAY HI BY KISSING EACH OTHER AND EVERYONE SLEEPS WITH EVERYONE ELSE AND THERE WAS A PLOT SOMEWHERE BUT WE FORGOT IT." There's a halfhearted attempt to pass off some deal about all parallel universes being the products of authors (Oh ho! I see what you did there!) that gets buried under disconnected plot points.
In the final chapters, some characters explain that most of the original plot is irrelevant. The title character is involved in the "story" as an afterthought, perhaps appropriately so. The final few pages are stream-of-consciousness and vague as to the ultimate conclusion of the story.
Overall, the (few) good parts of the book are a decent imitation of the "Retief" series by Keith Laumer, the poor (comprehensible) portions are an exercise in adolescent harem fantasies, and the remainder is a plotless, pointless, directionless exercise in incoherent rambling, with an occasional guest star from a previous Heinlein book.
Read something else.
March 28, 2008
Review from 01:
I am a great lover of the words of Heinlein. But this book has got to be one of his worst. While it has some very interesting quantum physics threads, and some interesting character as aware entity moments, it does not hold together. The relationships of the main character and his children (near the end of the book) are confusing and more explicit than needed/wanted. The 'mysteries' the main character was trying to solve fell apart like wet tissue paper. I was dissapointed that the ending did not allow resolution of many issues the book tried to explore. What was heinlein thinking?
I am a great lover of the words of Heinlein. But this book has got to be one of his worst. While it has some very interesting quantum physics threads, and some interesting character as aware entity moments, it does not hold together. The relationships of the main character and his children (near the end of the book) are confusing and more explicit than needed/wanted. The 'mysteries' the main character was trying to solve fell apart like wet tissue paper. I was dissapointed that the ending did not allow resolution of many issues the book tried to explore. What was heinlein thinking?
April 25, 2016
I believe this novel is the last Heinlein in my reading project and I can’t say that distresses me. I realize that this was written late in RAH’s career, after bouts of serious illness. Maybe that had something to do with the quality of these later works. The Cat picks up where Time Enough for Love and The Number of the Beast left off, retreading much of the same territory.
I must say in Cat’s favour that there are far fewer sex scenes, and as a result less incest and pedophilia. There is still an excessive amount (to my taste anyway) of dialog spent expounding Heinlein’s political and social views—some of which I can live with, others are just icky. He has managed to take a couple of interesting ideas—the multiverse and being able to travel between alternate universes, and an exploration of the meta-universes of fiction—and make them boring by sandwiching them back into the world of Lazarus Long.
Great Goddess, is Long ever a bore! And Richard Ames, our new main character, is even more boring, if that is possible. Although there is plenty of flitting about and (as mentioned previously) enormous amounts of pointless dialog, nothing much really gets done.
The best part of the whole thing, in my opinion, is the lovely book cover. When it was first published, I remember that cover catching my eye in the book stores and I thought then that I wanted to read it. I’m unsure why I didn’t purchase a copy back then, but I am thankful now that I didn’t. I had only read Stranger in a Strange Land at that point and would probably never have touched another RAH book if Cat had been my second.
I appreciate that if you read this in your teens or are a die-hard Heinlein fan, your opinion will differ substantially from mine. That’s fair enough, there is a lid for every pot. Unfortunately RAH’s late fiction doesn’t work for me at all, to my disappointment.
Book 208 of my science fiction and fantasy reading project.
I must say in Cat’s favour that there are far fewer sex scenes, and as a result less incest and pedophilia. There is still an excessive amount (to my taste anyway) of dialog spent expounding Heinlein’s political and social views—some of which I can live with, others are just icky. He has managed to take a couple of interesting ideas—the multiverse and being able to travel between alternate universes, and an exploration of the meta-universes of fiction—and make them boring by sandwiching them back into the world of Lazarus Long.
Great Goddess, is Long ever a bore! And Richard Ames, our new main character, is even more boring, if that is possible. Although there is plenty of flitting about and (as mentioned previously) enormous amounts of pointless dialog, nothing much really gets done.
The best part of the whole thing, in my opinion, is the lovely book cover. When it was first published, I remember that cover catching my eye in the book stores and I thought then that I wanted to read it. I’m unsure why I didn’t purchase a copy back then, but I am thankful now that I didn’t. I had only read Stranger in a Strange Land at that point and would probably never have touched another RAH book if Cat had been my second.
I appreciate that if you read this in your teens or are a die-hard Heinlein fan, your opinion will differ substantially from mine. That’s fair enough, there is a lid for every pot. Unfortunately RAH’s late fiction doesn’t work for me at all, to my disappointment.
Book 208 of my science fiction and fantasy reading project.
May 6, 2011
WARNING: You must read Heinlein's "The Moon is a Harsh Mistress," "The Rolling Stones," "Time Enough for Love," and "The Number of the Beast" before reading this book. It would also be helpful to have read "Stranger in a Strange Land," and "Friday." Familiarity with Baum's Oz stories and Edgar Rice Burroughs' Mars series is recommended. I think that a lot of the negative reviews here stem from people reading the series out of order or just picking this book up independently of the series or any other Heinlein book.
The Cat Who Walks Through Walls is a volume in the continuing saga of Lazarus Long and what has come to be known as the World as Myth stories. Richard Ames is a resident of Golden Rule habitat, which is a space colony near the moon. He is out to dinner with Gwen Novak when a man is killed directly in front of him. Before he knows it, he's running for his life from an enemy (or enemies) unknown. Because this is World as Myth, there's a lot more to the story than Richard is prepared to believe. Those of us familiar with (and half in love with) Lazarus Long might be put off by Richard's disdain for the man, but his position is understandable. Familiar friends are revisited yet again, especially after the action moves to Boondock, where little clothing is worn and lots of intimate action occurs regardless of gender or familial relation. In one amusing exchange, Richard calls Lazarus a "mother-" and Gwen replies, "In his case, that's merely descriptive." If that sort of thing is reprehensible to you, you might want to skip this (and everything else Heinlein's ever written). Fans who overlook (or agree with) his philosophy, and sexism, will find this a rollicking good time.
P.S. Unfortunately, Pixel, the title character, doesn't show up until much later than I had remembered. That's sad, because he's awesome!
The Cat Who Walks Through Walls is a volume in the continuing saga of Lazarus Long and what has come to be known as the World as Myth stories. Richard Ames is a resident of Golden Rule habitat, which is a space colony near the moon. He is out to dinner with Gwen Novak when a man is killed directly in front of him. Before he knows it, he's running for his life from an enemy (or enemies) unknown. Because this is World as Myth, there's a lot more to the story than Richard is prepared to believe. Those of us familiar with (and half in love with) Lazarus Long might be put off by Richard's disdain for the man, but his position is understandable. Familiar friends are revisited yet again, especially after the action moves to Boondock, where little clothing is worn and lots of intimate action occurs regardless of gender or familial relation. In one amusing exchange, Richard calls Lazarus a "mother-" and Gwen replies, "In his case, that's merely descriptive." If that sort of thing is reprehensible to you, you might want to skip this (and everything else Heinlein's ever written). Fans who overlook (or agree with) his philosophy, and sexism, will find this a rollicking good time.
P.S. Unfortunately, Pixel, the title character, doesn't show up until much later than I had remembered. That's sad, because he's awesome!
March 16, 2013
When I bought this book a couple of weeks ago, I was with two friends, one of whom is a fairly decent sci-fi fan, and the other of whom is a completely nutty sci-fi fan. Both of them started lyricising about how wonderful this book was, how absolutely fantastic, how I definitely had to read it. And, similarly, a week ago, another friend saw the book on our coffee table, and again, this lyrical Heinlein-is-amazing rhapsody was replayed.
Having now read the book myself, I have to confess that I didn't enjoy it as much as I was led to believe I would. Perhaps what my friends remember fondly is the permissiveness of his society - there is plenty of snuggling and kissing and all that sort of stuff (not explicit, of course) that goes on, some of it age-inappropriate, and it is common for men and women to greet each other by kissing passionately (that's with tongues, to you). Perhaps what they remember fondly is their teenage memories of it - but maybe it is unfair to them that I make that assumption!
Reading this was like reading two different books - the first half consisting of fairly straight, middle-of-the-road space opera, and the second half going into one of Heinlein's mystical World-as-Myth, looping, sweeping mythical narratives (see Elric of Melnibone). I don't really enjoy that style as much anyway, but this was highly confusing, what with the various counts of incest, interbreeding, extended family lines and of course time-jumping. Then there is also a very odd episode of what seems to be racism which leaves you very confused - it comes from out of nowhere, a short violent burst of it and it doesn't seem to serve the plot in any way.
So, all in all, not a very satisfying read.
Having now read the book myself, I have to confess that I didn't enjoy it as much as I was led to believe I would. Perhaps what my friends remember fondly is the permissiveness of his society - there is plenty of snuggling and kissing and all that sort of stuff (not explicit, of course) that goes on, some of it age-inappropriate, and it is common for men and women to greet each other by kissing passionately (that's with tongues, to you). Perhaps what they remember fondly is their teenage memories of it - but maybe it is unfair to them that I make that assumption!
Reading this was like reading two different books - the first half consisting of fairly straight, middle-of-the-road space opera, and the second half going into one of Heinlein's mystical World-as-Myth, looping, sweeping mythical narratives (see Elric of Melnibone). I don't really enjoy that style as much anyway, but this was highly confusing, what with the various counts of incest, interbreeding, extended family lines and of course time-jumping. Then there is also a very odd episode of what seems to be racism which leaves you very confused - it comes from out of nowhere, a short violent burst of it and it doesn't seem to serve the plot in any way.
So, all in all, not a very satisfying read.
January 10, 2009
This book starts out engagingly enough, with a mystery on a moon-orbiting space habitat. As can be expected from Heinlein, there is passing commentary on the governement of the habitat(all privately owned and controlled). When the action passes to the Moon we discover that this story is set in the same universe as The Moon is a Harsh Mistress, and we get more commentary about how the government on the moon has changed in the 100 or so years since the revolution.
And then that's where it turns just weird. Time travel, parallel dimensions, yadda yadda. And I'm a sci-fi fan. I don't mind that stuff. But it seemed random, unmotivated, and unjustified in the plot. Many characters from other Heinlein novels were incorporated, though it did not feel like a heart-warming visit with old friends. It felt like a last encore, a curtain call.
This seemed like a late career book, with the author resting on his laurels a little. I felt a lot of the author's personality coming through; that personality was "dirty, grumpy old man". Heinlein is known to have non-conventional ideas about marriage and relationships, but this was really pushing it. Spanking just doesn't need to be a major theme in a sci-fi novel. The author missed some good opportunties to address more legitimate thematic issues such as the nature of humanity (through emergence of consciousness in computers, as he did in The Moon is a Harsh Mistress), the nature of human existance (as he did in Methusela's Children) or just good old sci-fi adventure (many of his novels.)
And then that's where it turns just weird. Time travel, parallel dimensions, yadda yadda. And I'm a sci-fi fan. I don't mind that stuff. But it seemed random, unmotivated, and unjustified in the plot. Many characters from other Heinlein novels were incorporated, though it did not feel like a heart-warming visit with old friends. It felt like a last encore, a curtain call.
This seemed like a late career book, with the author resting on his laurels a little. I felt a lot of the author's personality coming through; that personality was "dirty, grumpy old man". Heinlein is known to have non-conventional ideas about marriage and relationships, but this was really pushing it. Spanking just doesn't need to be a major theme in a sci-fi novel. The author missed some good opportunties to address more legitimate thematic issues such as the nature of humanity (through emergence of consciousness in computers, as he did in The Moon is a Harsh Mistress), the nature of human existance (as he did in Methusela's Children) or just good old sci-fi adventure (many of his novels.)
This entire review has been hidden because of spoilers.
February 12, 2011
Ok, I'm only partway through, but I'm going to post my thoughts so far.
The first Heinlein book I read was Stranger in a Strange Land, which I found among my mother's book when I was 12. I adored that book, and read it many, many times. However, I'd never really read much other Heinlein.
This book started out great - James Bond style space adventure with witty banter and a clever female sidekick. Despite the sagacity of the girl (actually much older than we initially think), Heinlein has sprinkled weird sexist remarks about both men and women throughout the entire novel, which, now that I'm older, I see he does in ALL his novels, but it's still kind of grating.
Then, about halfway through, it became some weird porno fantasy land, where everybody's walking around naked and kissing and sleeping with everybody and their mother, and whooo isn't this fun. What the heck, Heinlein? All the stuff about parallel universes has been sidelined by descriptions of beautiful, practically immortal women, and how they throw themselves at the main protagonist. Both gag and yawn.
Also, presumably the protagonist grew up on a farm outside Grinnell, Iowa, which, while it's nice to get a shout out, actually just gives Heinlein the chance to play on Midwestern bumpkin stereotypes. Le sigh.
I've got about 1/4th of the book left to go; hopefully something good will happen to bring this book back from the world of a juvenile male's reverie.
Updated upon completion of the book: all the sexy stuff faded into the background in the last quarter of the book, which I liked, and the general idea suggested by Heinlein as the explanation for the existence of the multiverse is intriguing... yet, still disappointed. It's as if he explained it all as fast as he could right at the end and then poof, all done. Not his strongest work.
Also, if Heinlein knew anything about Iowa, he would know that it's the humidity, not the heat, that makes picnicking unbearable in the summer. Doesn't matter if you're in the shade, you still feel like you have a hot wet towel wrapped around you all the time. K thanks.
The first Heinlein book I read was Stranger in a Strange Land, which I found among my mother's book when I was 12. I adored that book, and read it many, many times. However, I'd never really read much other Heinlein.
This book started out great - James Bond style space adventure with witty banter and a clever female sidekick. Despite the sagacity of the girl (actually much older than we initially think), Heinlein has sprinkled weird sexist remarks about both men and women throughout the entire novel, which, now that I'm older, I see he does in ALL his novels, but it's still kind of grating.
Then, about halfway through, it became some weird porno fantasy land, where everybody's walking around naked and kissing and sleeping with everybody and their mother, and whooo isn't this fun. What the heck, Heinlein? All the stuff about parallel universes has been sidelined by descriptions of beautiful, practically immortal women, and how they throw themselves at the main protagonist. Both gag and yawn.
Also, presumably the protagonist grew up on a farm outside Grinnell, Iowa, which, while it's nice to get a shout out, actually just gives Heinlein the chance to play on Midwestern bumpkin stereotypes. Le sigh.
I've got about 1/4th of the book left to go; hopefully something good will happen to bring this book back from the world of a juvenile male's reverie.
Updated upon completion of the book: all the sexy stuff faded into the background in the last quarter of the book, which I liked, and the general idea suggested by Heinlein as the explanation for the existence of the multiverse is intriguing... yet, still disappointed. It's as if he explained it all as fast as he could right at the end and then poof, all done. Not his strongest work.
Also, if Heinlein knew anything about Iowa, he would know that it's the humidity, not the heat, that makes picnicking unbearable in the summer. Doesn't matter if you're in the shade, you still feel like you have a hot wet towel wrapped around you all the time. K thanks.
January 15, 2023
By this time in RAH's long career - well aware that his time was short, I suppose - he wrote for those familiar with his work, therefore, I have reread all of the novels that are referred to in this one (which has an absolutely great cover, by the way), in order to fully appreciate it. They include primarily, "The Moon is a Harsh Mistress", "Time Enough for Love" and "The Number of the Beast" as well as "Stranger in a Strange Land" and "The Rolling Stones".
Besides a few utterly uncomfortable suggestions of 'pink bottom paddling' -Ugg! Why oh why put us through it?!, "The Cat Who Walks Through Walls" is actually an entertaining and essential addition to the Lazarus Long 'World as Myth' series of stories. It is the most of Heinlein's work that resembles one by A. E. van Vogt, in the sense that Book 1, 2 and 3 come off as if this were a fixup novel made of three semi related shorter works.
RAH here is still sharp and full of witty humour. I hardly squirm or pay much attention to what an old geezer, well into his twilight years, mumbles under his breath; I just listen for the jems of wisdom he comes up with. And there is plenty here.
I will now go onto, "To Sail Beyond the Sunset" as the actual conclusion of this novel is found there.
Besides a few utterly uncomfortable suggestions of 'pink bottom paddling' -Ugg! Why oh why put us through it?!, "The Cat Who Walks Through Walls" is actually an entertaining and essential addition to the Lazarus Long 'World as Myth' series of stories. It is the most of Heinlein's work that resembles one by A. E. van Vogt, in the sense that Book 1, 2 and 3 come off as if this were a fixup novel made of three semi related shorter works.
RAH here is still sharp and full of witty humour. I hardly squirm or pay much attention to what an old geezer, well into his twilight years, mumbles under his breath; I just listen for the jems of wisdom he comes up with. And there is plenty here.
I will now go onto, "To Sail Beyond the Sunset" as the actual conclusion of this novel is found there.
March 7, 2011
Robert Heinlein has always been near the top of my favorite science fiction authors. His stories, projected through lush language and vivid images, have always given me a chance to escape whatever task I'm doing and invite me to "live" in his world for a bit.
THE CAT WHO WALKS THROUGH WALLS is a bit different. Heinlein takes a romance and tries to stuff it between space opera and detective fiction. I can't say that this ménage a trois fails, exactly, but I have a feeling that space opera and detective fiction had more fun. For me, the story is bogged down by the romance, sometimes giving me a feeling that Heinlein wanted to change his approach to storytelling to show that he was able to reach more readers.
As far as the story goes, I thought it was convoluted, but in a strange and fascinating way. Heinlein brings to life many strange characters: human, animal, plant and alien, and places them in incredibly realized set pieces that are a treat to the imagination. It is a long story, 400 pages, and best digested in large portions.
HIGHLY RECOMMENDED
THE CAT WHO WALKS THROUGH WALLS is a bit different. Heinlein takes a romance and tries to stuff it between space opera and detective fiction. I can't say that this ménage a trois fails, exactly, but I have a feeling that space opera and detective fiction had more fun. For me, the story is bogged down by the romance, sometimes giving me a feeling that Heinlein wanted to change his approach to storytelling to show that he was able to reach more readers.
As far as the story goes, I thought it was convoluted, but in a strange and fascinating way. Heinlein brings to life many strange characters: human, animal, plant and alien, and places them in incredibly realized set pieces that are a treat to the imagination. It is a long story, 400 pages, and best digested in large portions.
HIGHLY RECOMMENDED
August 4, 2009
One of Heinlein's last books, and not one of his best. It represents yet another installment in the "World As Myth" theme that he used so often later in life, and therefore includes many characters from his older, better works - including, inevitably, Lazarus Long, who continues his long (pun intended) degeneration from the original interesting protagonist of "Methuselah's Children" into an annoying incest-freak, Heinlein surrogate, self-parody (I suspect), and all-around jerk-who-must-be-worshiped-due-to-his-natural-moral-superiority.
Still, Heinlein retained his great gift as a storyteller even at this late date in his career. And the first two-thirds of the book are basically a well-told, straightforward science fiction adventure story, albeit a chatty one. The main protagonist is yet another Heinlein surrogate, even more thinly-disguised than usual; Richard Ames (apparently born Colin Campbell), a writer, combat veteran, and general man of action and competence.
For the first two-thirds of the book, Ames has near-future adventures in space, told with the usual Heinlein flair - albeit with a greater-than-usual helping of Heinlein smarm and the usual badly dated romantic banter (the older I get, the more obvious it becomes that Heinlein all too often used the language and idioms of his youth in Kansas City - which makes his one exception to that habit, The Moon Is A Harsh Mistress, all the more surprising and impressive).
I don't want to get too detailed, so let me wrap this up quickly. Once Lazarus Long enters the picture, the book rapidly degenerates into the usual confused World-Is-Myth mishmash, with the obligatory long expository party scenes in which far too much is explained. Including (of course!) lots of sex, homophobia overcome, and incest. Please don't get the idea that I'm a prude! Actually, I am a prude in many ways, but not when it comes to reading. It's just that Heinlein is so one-sided, and such a one-note author when it comes to sex and incest, that it really becomes tiring and annoying. It's a waste of his incredible talent.
One odd thing: toward the end, a large, black, rage-filled character named Samuel Beaux is suddenly introduced as yet another two-dimensional foil. The pun (if that's what it is) is obvious - Samuel Beaux, "Sam Beaux", "Sambo" - but Heinlein spells it out just to make it clear for the idiots in the crowd. He apparently felt that he nullified the implied racism by suddenly having Ames/Campbell turn out to be black himself, although there were absolutely no clues to indicate that anywhere prior to that point. In fact, Ames calls Beaux "Boy" in the process, which strikes a very false note indeed!
I'm not one of those people who subscribes to the concept of political correctness. Nor do I practice it - I'm a fanatic when it comes to free speech, and believe that the notion of political correctness was either created or adopted as a form of characterizing criticism of racism (and sexism, etc.) as reverse racism. That is, accusations of "political correctness" are usually just an attempt to defend racism and other outdated behaviors; either that, or they're just idiotic attempts to "protect the children" or similar nonsense. I hate racism, but I also strongly object to censorship of Huckleberry Finn and The Story of Doctor Dolittle on racial grounds.
So I'm not criticising Heinlein for racism per se; as far as I know, he didn't practice racism, and his language is probably just a reflection of the language and concepts that were commonly accepted in the time and place of Heinlein's childhood. But "Sambo" is rather egregious, doesn't really bring anything to the story, and Heinlein's sudden revelation of Ames/Campbell as black strikes me as very phony and dishonest. I disapprove of bullshit, and given that Heinlein always presented himself as tough and plainspoken, that whole passage strikes me as very hypocritical - the literary equivalent of "some of my best friends are gay/black/Jewish/whatever".
Sorry to have gotten so tangled up in the issue of race; it was unplanned.
And now, the ending: I don't like it. No, let me make that stronger: I really don't like the ending. It leaves the plot hanging, badly. What's more, there's a large hole in the plot - we've been told repeatedly that there are only two possible outcomes, and while the outcome isn't necessarily final at the close of the book, it seems to be as close to it as possible - and it doesn't match either of the two scenarios that were presented.
And dammit, it's a sad ending. I don't like that, particularly when kittens are involved. Call it a personal quirk.
Heinlein only wrote one more book after this; I've read it, but don't remember much of it (which is not very high praise, I must say). Unfortunately, that means that I don't remember if there was any mention of the outcome in that book. I suppose I'll have to re-read it to find out.
If it weren't for Heinlein's great skill as a storyteller, I'd have given this two stars at best. It's certainly among his weakest novels.
Still, Heinlein retained his great gift as a storyteller even at this late date in his career. And the first two-thirds of the book are basically a well-told, straightforward science fiction adventure story, albeit a chatty one. The main protagonist is yet another Heinlein surrogate, even more thinly-disguised than usual; Richard Ames (apparently born Colin Campbell), a writer, combat veteran, and general man of action and competence.
For the first two-thirds of the book, Ames has near-future adventures in space, told with the usual Heinlein flair - albeit with a greater-than-usual helping of Heinlein smarm and the usual badly dated romantic banter (the older I get, the more obvious it becomes that Heinlein all too often used the language and idioms of his youth in Kansas City - which makes his one exception to that habit, The Moon Is A Harsh Mistress, all the more surprising and impressive).
I don't want to get too detailed, so let me wrap this up quickly. Once Lazarus Long enters the picture, the book rapidly degenerates into the usual confused World-Is-Myth mishmash, with the obligatory long expository party scenes in which far too much is explained. Including (of course!) lots of sex, homophobia overcome, and incest. Please don't get the idea that I'm a prude! Actually, I am a prude in many ways, but not when it comes to reading. It's just that Heinlein is so one-sided, and such a one-note author when it comes to sex and incest, that it really becomes tiring and annoying. It's a waste of his incredible talent.
One odd thing: toward the end, a large, black, rage-filled character named Samuel Beaux is suddenly introduced as yet another two-dimensional foil. The pun (if that's what it is) is obvious - Samuel Beaux, "Sam Beaux", "Sambo" - but Heinlein spells it out just to make it clear for the idiots in the crowd. He apparently felt that he nullified the implied racism by suddenly having Ames/Campbell turn out to be black himself, although there were absolutely no clues to indicate that anywhere prior to that point. In fact, Ames calls Beaux "Boy" in the process, which strikes a very false note indeed!
I'm not one of those people who subscribes to the concept of political correctness. Nor do I practice it - I'm a fanatic when it comes to free speech, and believe that the notion of political correctness was either created or adopted as a form of characterizing criticism of racism (and sexism, etc.) as reverse racism. That is, accusations of "political correctness" are usually just an attempt to defend racism and other outdated behaviors; either that, or they're just idiotic attempts to "protect the children" or similar nonsense. I hate racism, but I also strongly object to censorship of Huckleberry Finn and The Story of Doctor Dolittle on racial grounds.
So I'm not criticising Heinlein for racism per se; as far as I know, he didn't practice racism, and his language is probably just a reflection of the language and concepts that were commonly accepted in the time and place of Heinlein's childhood. But "Sambo" is rather egregious, doesn't really bring anything to the story, and Heinlein's sudden revelation of Ames/Campbell as black strikes me as very phony and dishonest. I disapprove of bullshit, and given that Heinlein always presented himself as tough and plainspoken, that whole passage strikes me as very hypocritical - the literary equivalent of "some of my best friends are gay/black/Jewish/whatever".
Sorry to have gotten so tangled up in the issue of race; it was unplanned.
And now, the ending: I don't like it. No, let me make that stronger: I really don't like the ending. It leaves the plot hanging, badly. What's more, there's a large hole in the plot - we've been told repeatedly that there are only two possible outcomes, and while the outcome isn't necessarily final at the close of the book, it seems to be as close to it as possible - and it doesn't match either of the two scenarios that were presented.
And dammit, it's a sad ending. I don't like that, particularly when kittens are involved. Call it a personal quirk.
Heinlein only wrote one more book after this; I've read it, but don't remember much of it (which is not very high praise, I must say). Unfortunately, that means that I don't remember if there was any mention of the outcome in that book. I suppose I'll have to re-read it to find out.
If it weren't for Heinlein's great skill as a storyteller, I'd have given this two stars at best. It's certainly among his weakest novels.
November 12, 2009
Probably the Heinlein book that disappointed me the most of any. I know it's much beloved, but not by me. I found it weaker but it is one of his later works and I hink he had changed somewhat. There seems to me to be a taste of disillusionment and maybe a little bitterness in this one. Could be just me.
January 5, 2019
When a messenger is shot dead at the protagonist's table, he is thrown into action which turns out to be interdimensional.
HIghly recommended.
HIghly recommended.
January 6, 2023
Science fiction is not a genre I read much of and this book certainly re-enforced my dislike for it. It started interestingly enough, almost as an adventure/crime fiction set in the future. In fact it kept my attention through the first two thirds of the book. Once it got into time travel-and the assorted seemingly trivial conversations in the last part it was hard to get through. The only reason I finished it, is that I wanted to know the final outcome, and I had spent so much time invested reading the enjoyable part. Then the final insult is the ending was really dissatisfying. I know this isn't considered one of Heinlein's best works, but very disappointing.
November 11, 2015
This book ended. That is definitely the best part of it. I have enjoyed some of Robert Heinlein's books, but I struggle with his Luna series. This book is part of that series. The story is about Richard Ames who takes his girlfriend Gwen out to dinner. While there someone comes up to the table and tries to hire Richard as an assassin. That man is then killed at the table. When does that little plot point get resolved? Why the next to last page of course! Why resolve it sooner?
Anyway Richard and Gwen are now on the run after they quickly get married and then they experience disaster after disaster as they try to escape the planet they're on, then the Moon, and finally Earth. Though not our Earth, keep up! Oh yes, and they encounter 5,000 characters. After meeting each of them you are then expected to remember all of their names, what they do, and how they are connected to the great family tree.
You see, our heroes (gag me) fall into a time-traveling organization so they have all inbred and are each others grandmothers/mother/WTF?!?! The first 150 pages were good, but then it dissolved into a physics mess. And don't worry, we don't get closure. Who wants that?
DO NOT read this book.
Anyway Richard and Gwen are now on the run after they quickly get married and then they experience disaster after disaster as they try to escape the planet they're on, then the Moon, and finally Earth. Though not our Earth, keep up! Oh yes, and they encounter 5,000 characters. After meeting each of them you are then expected to remember all of their names, what they do, and how they are connected to the great family tree.
You see, our heroes (gag me) fall into a time-traveling organization so they have all inbred and are each others grandmothers/mother/WTF?!?! The first 150 pages were good, but then it dissolved into a physics mess. And don't worry, we don't get closure. Who wants that?
DO NOT read this book.
May 26, 2021
Of all the Heinlein books I've read, so far, I believe I like this one the least. But it's not all the book's fault.
I wasn't aware it would be so thoroughly filled with references to his earlier books, for one - books I haven't yet read, references that I missed, inside jokes I didn't get. For the other... as I figured in my The Moon Is A Harsh Mistress review, I indeed don't like political tracts nearly as much when I disagree with them. (I might have to nix a star from that book, too, thinking about it.)
Still, though, the story on its own was pretty incoherent, the plot went all over the place, the dialogue was weird, and there was too much needless exposition and a whole lot of sidetracks. It got weird, and I couldn't keep track of everything.
Here's one for a re-read, later. Once I've picked up a few more of Heinlein's books.
I wasn't aware it would be so thoroughly filled with references to his earlier books, for one - books I haven't yet read, references that I missed, inside jokes I didn't get. For the other... as I figured in my The Moon Is A Harsh Mistress review, I indeed don't like political tracts nearly as much when I disagree with them. (I might have to nix a star from that book, too, thinking about it.)
Still, though, the story on its own was pretty incoherent, the plot went all over the place, the dialogue was weird, and there was too much needless exposition and a whole lot of sidetracks. It got weird, and I couldn't keep track of everything.
Here's one for a re-read, later. Once I've picked up a few more of Heinlein's books.
May 2, 2021
2021 audio re-read. A talented, take-no-$#*! Heinlein character, particularly one I can identify with, is refreshing when it has been a tough week, month, year, or decade. A good visit from Matt Dodson, Rod Walker, Oscar Gordon, Zeb Carter, or Richard Ames restores some of my faith in myself.
October 31, 2021
I remember liking this book less when I read it long ago. Robert A. Heinlein's "World As Myth" series doesn't appeal to me and I tend to prefer the older juvenilia and middle novels much more. The thing is, I've become such a fan of his, and particularly of his wonderful characters, that the opportunity to meet most of the characters from most of his novels again was a happy one.
I wouldn't suggest this book for anyone not already a serious Heinlein fan. I imagine it would be pretty much a failure to any other audience.
2012 Reading: All that, but more so. I enjoyed it more, and even more can't imagine someone not already a fan enjoying this.
And 2015 too. :-)
I wouldn't suggest this book for anyone not already a serious Heinlein fan. I imagine it would be pretty much a failure to any other audience.
2012 Reading: All that, but more so. I enjoyed it more, and even more can't imagine someone not already a fan enjoying this.
And 2015 too. :-)
November 3, 2015
Abandoned 3/4ths of the way through. Life is too short for this shit.
June 23, 2008
This is kind of two separate books smooshed together. The first half is pretty straight-forward space adventures, and then everything gets weird after that. Not bad, just weird and very separate-feeling from the first half. This is not uncommon with Heinlein, and it didn't ruin the book or anything, but I did kind of feel betrayed that the first half was somewhat meaningless. Also, the ending left me hanging more than I would have liked. I plan on reading the rest of this "series" (having already read Time Enough for Love a year or two ago) so perhaps that will complete the picture for me.
Overall: enjoyable read, but somewhat unsatisfying.
Overall: enjoyable read, but somewhat unsatisfying.
June 18, 2020
I enjoyed parts of this book. I kept getting confused with the time travel stuff, and there were a lot of characters to keep straight. The end of the book got really busy and I lost the story for awhile. This was my first book by Heinlein, so not sure if his other works are better.
January 18, 2020
I’m not a complete newbie to Robert A. Heinlein, having read and thoroughly enjoyed The Moon is a Harsh Mistress. TBH, I read this strictly because of the cat, who doesn’t even show up until the last part of the book. Still, just like real live cats, Pixel was worth the wait - and someday I’m pretty sure I’ll name a future cat Pixel. 😽
But I do wish I had read more reviews of this one; if I had, I think I would have read some of his other books first. I do enjoy his writing and characters and world building.
Overall, I enjoyed most of the book — it’s a rollicking good tale until the last 1/4 when it gets heavily into the Heinlein multiverses and overlapping stories and characters. And I really dislike the ending! Maybe it’s not technically a cliffhanger, but it’s certainly quite abrupt. I understand from one of the reviewers the story continues in Heinlein’s last novel?
3+ stars, which might be upgraded after I read some of the other related novels.
But I do wish I had read more reviews of this one; if I had, I think I would have read some of his other books first. I do enjoy his writing and characters and world building.
Overall, I enjoyed most of the book — it’s a rollicking good tale until the last 1/4 when it gets heavily into the Heinlein multiverses and overlapping stories and characters. And I really dislike the ending! Maybe it’s not technically a cliffhanger, but it’s certainly quite abrupt. I understand from one of the reviewers the story continues in Heinlein’s last novel?
3+ stars, which might be upgraded after I read some of the other related novels.
September 19, 2015
Traka un jancīga grāmata, kura izrādījās tāds kā turpinājums romānam The Moon is a Harsh Mistress, kuru diemžēl neesmu lasījusi. Neskaitāmi personāži, raibi notikumi, un uz beigām mazliet apnika sekot līdzi visām tām laika līnijām un cilpām, kā arī varoņu dīvainajiem radu rakstiem un, kurš ar kuru un kad ir pārgulējis. Bet, spriežot pēc nobeiguma, arī autoram tas uz beigām bija mazliet apnicis.
Vārdu sakot, Heinleins par savām iemīļotajām tēmām - mūžīgo jaunību, anarhiju, skarbo dzīvi uz Mēness, daudzsievību un daudzvīrību, rudmatainiem cilvēkiem, paralēlām laika līnijām un vispār šī pasaule ir mīts, un viss ir tikai mūsu iedomas.
Neskatoties uz daudzsološo nosaukumu, kaķis parādās tikai uz grāmatas beigām. Un, protams, ka tas ir Šrēdingera kaķis.
Vārdu sakot, Heinleins par savām iemīļotajām tēmām - mūžīgo jaunību, anarhiju, skarbo dzīvi uz Mēness, daudzsievību un daudzvīrību, rudmatainiem cilvēkiem, paralēlām laika līnijām un vispār šī pasaule ir mīts, un viss ir tikai mūsu iedomas.
Neskatoties uz daudzsološo nosaukumu, kaķis parādās tikai uz grāmatas beigām. Un, protams, ka tas ir Šrēdingera kaķis.
February 19, 2024
Novela un tanto irregular, con momentos que atrapan, pero también con otros que estás deseando que pasen porque se ven un tanto irrelevantes. La historia empieza con un ritmo totalmente alocado que, en el fondo mantiene durante toda su extensión, pero que a veces alcanza ese punto en el que uno dice: “se te fue la perola”. Y es que, al menos desde mi punto de vista, hay momentos en los que casi he desconectado y leído en piloto automático de lo inconexa y alocada que se vuelve la trama (no se puede más sin hacer los odiados spoilers).
Con todo, un libro entretenido que podía a ver sido mucho más, pero que también podía haber sido menos. Con tres estrellas va que se mata, aunque si sólo pienso en la primera mitad quizás hasta podría darle cuatro...
Con todo, un libro entretenido que podía a ver sido mucho más, pero que también podía haber sido menos. Con tres estrellas va que se mata, aunque si sólo pienso en la primera mitad quizás hasta podría darle cuatro...
October 18, 2021
Ielēcu pa vidu sērijai (atkal). Līdz ar to šo un to noteikti palaidu garām. Sākumā bija tāds aizraujošs trilleris, kas grāmatas vidū strauji samezglojās un jauca prātu ar paralēlām laika līnijām, cilpām, paplašinātām ģimenēm (daudz -sievība un -vīrība, bērns, kas gandrīz sanāk sev mazbērns un uz to pusi). Tad man bija jāpiespiež sevi lasīt, jo pamest negribējās. Vairāk jāpiespiež sevi bija dažādu samudžinājumu dēļ. Beigās gan nonāca līdz tam, ka pasaule ir mīts un katrs autors ir tās radītājs. Man šķita diezgan ironisks šis darbs.
Bija brīži, kad savilkās paralēles ar Galaktikas ceļvedi stopētājiem, bet tas gan man patika labāk.
Bija brīži, kad savilkās paralēles ar Galaktikas ceļvedi stopētājiem, bet tas gan man patika labāk.
Read
January 3, 2018Undecided rating. 5 stars for dialogue. 5 stars for Mike the Computer but Negative 5 for that plot thread never obtaining resolution(??).
November 9, 2015
Why, why, why? Why am I so stupid? After I finished my last Heinlein book some months ago (can't remember which one, sorry), in my review I said I'd never read another one of his books, I was so disgusted with him as a perverted writer. I mean, he's a De Sade pervert. Dirty old man. And I'm no prude. But I don't want to pick up a decent seeming sci fi book only to find it full of nothing more than gratuitous sex and little else, likely designed to shock and titillate. It's stupid and, frankly, boring. I think Heinlein has written a couple of decent books I've liked over the years, but generally he's very overrated and he's really a disgusting person. So I can't explain what made me stop in the bookstore this weekend while browsing through the shelves and pick this book up and look at the back cover. But the synopsis made it sound interesting and since it was a decent used price, I thought why not. So I did. And regretted it.
The book is about Dr. Richard Ames, who is a resident of Golden Rule habitat, which is a space colony near the moon. One night, he is out to dinner with his soon-to-be wife Gwen Novak when a strange man is killed directly in front of him at his table. Before he knows it, he's running for his life from an unknown enemy or group of enemies. The thing that made me want to stop reading this book, which I did, was that so many unlikely things happened to Ames and Gwen in a 20 hour period, that it was completely unbelievable. The murder, the three minute cleanup and disappearance of the corpse, the assassination attempt, the evictions, the other murder, the murder frame up, the chase, the rip offs, the sabotaged space ship which crash lands, etc. It's just too damn much. If half of this stuff would happen to anyone in a 20 hour period, they'd have a nervous breakdown. It's not believable. To make matters worse, the dialogue is so damned "proper" and so, frankly, stilted, it's not to be believed either. Gwen takes the assassin under care to turn him into a proper person by educating him in his speech patterns, because one needs to learn how to speak properly if one wants to get ahead in life. Seriously? He just tried to kill your husband. WTF? That's beyond stupid. And their dialogues and "witticisms" (if you can actually call them that) during their stressful flight from authority stretches imagination. No one talks like that. At all. Ever. No one. It's beyond stupid. And so I stopped reading. Bear in mind my comment that Heinlein is a perv. So I read some reviews of this book after I stopped reading and to my total lack of surprise, this book turns into a giant Penthouse jerkoff complete with orgies and incest and tons of naked women throwing themselves at Ames throughout the book and why am I not surprised? I know a lot of sci fi writer geeks are a little sex obsessed, probably because they never got any growing up, but damn, what the HELL is wrong with Heinlein? He's a sick bastard. OK, I learned my lesson. I should have stuck to my guns. No matter how good the back cover sounded, it was Heinlein and bound to be bad, so this was definitely my last Heinlein book ever and he can kiss my ass. What an overrated writer. What a bad excuse for a sci fi author. What a freak. Definitely not recommended, both for the plot and the porn.
The book is about Dr. Richard Ames, who is a resident of Golden Rule habitat, which is a space colony near the moon. One night, he is out to dinner with his soon-to-be wife Gwen Novak when a strange man is killed directly in front of him at his table. Before he knows it, he's running for his life from an unknown enemy or group of enemies. The thing that made me want to stop reading this book, which I did, was that so many unlikely things happened to Ames and Gwen in a 20 hour period, that it was completely unbelievable. The murder, the three minute cleanup and disappearance of the corpse, the assassination attempt, the evictions, the other murder, the murder frame up, the chase, the rip offs, the sabotaged space ship which crash lands, etc. It's just too damn much. If half of this stuff would happen to anyone in a 20 hour period, they'd have a nervous breakdown. It's not believable. To make matters worse, the dialogue is so damned "proper" and so, frankly, stilted, it's not to be believed either. Gwen takes the assassin under care to turn him into a proper person by educating him in his speech patterns, because one needs to learn how to speak properly if one wants to get ahead in life. Seriously? He just tried to kill your husband. WTF? That's beyond stupid. And their dialogues and "witticisms" (if you can actually call them that) during their stressful flight from authority stretches imagination. No one talks like that. At all. Ever. No one. It's beyond stupid. And so I stopped reading. Bear in mind my comment that Heinlein is a perv. So I read some reviews of this book after I stopped reading and to my total lack of surprise, this book turns into a giant Penthouse jerkoff complete with orgies and incest and tons of naked women throwing themselves at Ames throughout the book and why am I not surprised? I know a lot of sci fi writer geeks are a little sex obsessed, probably because they never got any growing up, but damn, what the HELL is wrong with Heinlein? He's a sick bastard. OK, I learned my lesson. I should have stuck to my guns. No matter how good the back cover sounded, it was Heinlein and bound to be bad, so this was definitely my last Heinlein book ever and he can kiss my ass. What an overrated writer. What a bad excuse for a sci fi author. What a freak. Definitely not recommended, both for the plot and the porn.
June 13, 2017
I'm going through my Heinlein collection trying to decide what, if any, to hold on to and what to toss. This one is being tossed. I can only assume that the publisher took this because they figured the author's name would sell enough to give them a profit. They must have been aware the book was poorly written. Or perhaps they knew Heinlein was dying (if he were, this is a guess) and so respected him they took the book anyway. I doubt this but suppose it is possible. One item that I find offensive is that it ends on a cliffhanger. There is only one reason for that: to set up the next book for good sales. Also, the whole premise of the story is discarded in the last section excluding the last chapter. That is as offensive in science fiction as it is in fantasy. Especially since the hero states he needs to kill the person who gets killed at his table in the beginning of the book. On the last few pages we find out who dunnit and of course it is someone he wouldn't dream of killing. There is also no good explanation of why he agreed to do something he was adamantly opposed to doing.
The sexism that others have mentioned is all correct. He does seem to be trying to justify what most people considered perverted sexual practices. At the same time, he also really doesn't consider women to be equal partners to men. Either they are darling rather stupid creatures/spoiled rotten stupid creatures; or they are so capable that they are way beyond men's capabilities and the only thing men can do is relax and hope that the august creatures indulge their need for perverted sex.
The ultimate problem is that the story is poorly written as I have already mentioned. The pacing of the story is terrible. Fast in many places then the action stops to translate the hero into Heinlein's last series, the world as myth which involves a lot of info dumping to bring readers and the hero up to speed. To keep people interested, this is where a lot of the casual sex got thrown in. Once the new world is established, a new purpose is needed since the original purpose, to find out whodunit has been discarded so suddenly we are rescuing a computer/person. The last part of the story with this new purpose is rather slow, although faster than the info dumping portion. Then Heinlein ends it on that aforementioned cliffhanger after a final chapter at breakneck speed. Terrible pacing!
The only people who might want to read this are people who have read others in this series. I certainly don't think people should try this book without the first two in the series. It simply isn't going to make sense otherwise, even with the info dumping that Heinlein threw in.
The sexism that others have mentioned is all correct. He does seem to be trying to justify what most people considered perverted sexual practices. At the same time, he also really doesn't consider women to be equal partners to men. Either they are darling rather stupid creatures/spoiled rotten stupid creatures; or they are so capable that they are way beyond men's capabilities and the only thing men can do is relax and hope that the august creatures indulge their need for perverted sex.
The ultimate problem is that the story is poorly written as I have already mentioned. The pacing of the story is terrible. Fast in many places then the action stops to translate the hero into Heinlein's last series, the world as myth which involves a lot of info dumping to bring readers and the hero up to speed. To keep people interested, this is where a lot of the casual sex got thrown in. Once the new world is established, a new purpose is needed since the original purpose, to find out whodunit has been discarded so suddenly we are rescuing a computer/person. The last part of the story with this new purpose is rather slow, although faster than the info dumping portion. Then Heinlein ends it on that aforementioned cliffhanger after a final chapter at breakneck speed. Terrible pacing!
The only people who might want to read this are people who have read others in this series. I certainly don't think people should try this book without the first two in the series. It simply isn't going to make sense otherwise, even with the info dumping that Heinlein threw in.
This entire review has been hidden because of spoilers.
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