anjali

Awful book. Narrative all over the place, characters are a haze of blurry, one-dimensional, half-hearted caricatures, who seldom ever feel like real characters. The story is also outrageously lacking in terms of real plot development. I can understand that, especially when it comes to ‘literary fiction'; however, as much as it pains me to say this, I found nothing literary about this book. Horribly over-rated.

Heart-breaking and very, very beautiful. It left me awed, wondering how writing could achieve and create something as amazing as this. Two days is all it took for me to finish this book, despite my best efforts to read as slowly as possible. Very highly recommended. One of the books that just make you feel immensely.

The concept of a Martian - a human being by birth, but in essence, a Martian - rehabilitated on Earth is an arresting idea, and a great canvas. In Heinlein's work, this canvas is mainly coloured through lens of social commentary and a new moral philosophy that became a manifesto for the counter cultural movements of the 60s.

Although divided in 5 main parts, the novel can really be said to be composed of halves. The first half is where the narration is the focus, the story keeps moving and there is a real sense of ‘happening.' The second half lags in terms of action but brings out the core concepts and ideas of the novel in full, successively developing from satire, taking on government and civilisation, to the formulation of a new philosophy which underlined the beginning of the Free Love movement that came in later in the decade.

Typically, Heinlein employs the use of two main characters as the main propogator's of his thought and ideas. They are, of course, Jubal Harshaw and Mike himself.

Sex

The core of Heinlein's philosophy lies in sex, and how sex is perceived and ought to be perceived amongst humanity. When Mike, the man from Mars discovers that human beings share something that has no equivalent in the Martian culture, he is fascinated. On Mars, there is no distinction of ‘male' and ‘female' as such. The female equivalents are mere ‘nymphs', who, by any accounts, do not figure into much prominence. However, as Mike discovers, things are different on Earth. Men and women co-exist. The male and the female are distinct, yet harmonise with each other. Sex is the basis for this harmony, the basis for all humanity. Sex is important. Sex is good.

This is where Heinlein goes a step further for his time; his attitude towards sex in belief and practice were radically different from existing social norms for his time. To Heinlein, and consequently Mike, sex is not a commodity, to be hoarded and practised in the privacy of two individuals behind closed doors. Instead, sex is shared goodness, to be given and taken and exchanged at large. Where Mike comes from, jealousy as a concept does not exist. This lack of jealousy, lack of possessiveness manifest themselves in his attitude towards sex. Because jealousy doesn't exist, polygamy is no problem.

Jubal explains Mike philosophy in contrast with religious indictments. The Bible declares: Though shalt not covet thy neighbour's wife. But this, as Jubal wryly observes, is a natural impossibility. As long as men continue to live, they continue to be subject to their desires, whether physical or otherwise. Mike and his philosophy are exactly opposite. What the Church is saying is don't eye your neighbour's wife, full stop. What Mike is saying is: You want to covet my wife? Take her! And have some good rocking sex while you're at it.

For Mike, sex isn't off-hands and restricted between two people. Love and sex, intertwined as they are, deserve to be shared among people, their goodness shared across all people in the Nest.
Far from something to be ashamed of or to be guilty about, sex was a goodness, to be cherished and enjoyed and shared.

Of course, this is almost a line-by-line blue print of the hippie movement that came in later during the 60s. This book was published much before it happened, and was there just at the right time when it did. The Free Love movement of the 1960s underscores Mike's philosophy.

Heinlein's thesis of religion

While everyone was busy having orgies, it did not escape Heinlein to incorporate commentary on religion as well. This he does through the portrayal of the religious order, the Fosterites, who are of the Christian denomination but differ widely in essentials. While Christians unnecessarily torment themselves with original sin, Fosterites embrace it, accept it, and get ready to put it behind themselves. The ultimate aim of life according to Fosterites is to be happy.

Heinlein criticises Christianity's doublespeak. Christianity and Islam are quick to mete out judgement to their followers, to dictate moral, social, political and sexual rules and judgments to their followers. Yet, at the same time, their scriptures are full of inconsistencies and sexual deviance. A case in point in Lot's offering of his two virgin daughters to a mob banging on his door. Lot trades his young daughters so as to have ‘the mob stop banging on the door.' This is the God who complies with such an act, who rewards this morality while simultaneously frowning upon a million other things. Such a God is a hypocrite.

Fosterism then, as a religion seeks to eliminate this bias, to do away once and for all with the doublespeak and hypocrisy of religion. However, their unabashed glorying in happiness and hedonistic pleasure is initially disquieting to Jubal and Jill.

Conclusion

I can see why Stranger in a Strange land became such a landmark novel when it was published. It must have provoked and outraged and shocked people of its time - it still does today, in certain places and among certain people. However, any hope of life on Mars, our direct neighbour, let alone a civilisation as highly advanced as the one portrayed in the novel, in light of successive Martian expeditions over the decades is rendered unrealistic at best.

There are also some major flaws with the book, most particularly Heinlein's portrayal of women. Women are either shown as passive and ‘go-along-with-what-he's-saying-and-doing', like Miriam, Dorcas and Anne, or manipulative and controlling, like Mrs. Douglas and Patty and, to some extent, Jill. My main gripe with Heinlein was Jill saying, ‘Nine out of ten times, when a woman gets raped, it's her own fault.'

However, all these things considered, the redeeming hallmarks of Stranger are its social commentary and its original ideas about religion and civilisation, which, in the post-60s, post-hippiedom world might strike us as tired and tested, but which were strikingly original and timely for the time it was published in. If you can put aside the 50s-60s attitudinal drawbacks behind, this is a quintessential science fiction read.