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gengelcox's review against another edition
hopeful
informative
medium-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
3.0
***** "It's Great to Be Back!" • [Future History] • (1947) • short story
** The Green Hills of Earth • [Future History] • (1947) • short story
** Logic of Empire • [Future History] • (1941) • novella
*** We Also Walk Dogs • [Future History] • (1941) • novelette (variant of "—We Also Walk Dogs") [as by Anson MacDonald]
*** The Black Pits of Luna • juvenile • [Future History] • (1948) • short story
**** Delilah and the Space-Rigger • [Future History] • (1949) • short story
** Gentlemen, Be Seated! • [Future History] • (1948) • short story
**** The Long Watch • [Future History] • (1949) • short story
*** Ordeal in Space • [Future History] • (1948) • short story
*** Space Jockey • [Future History] • (1947) • short story
"It's Great to be Back!" — First published in 1947, while the technology depicted here is outdated or simply wrong, the psychology is perfect. After three years on the moon, Allen and Jo are happy to get back to Earth, where they can see blue skies and walk on grass and feel the rain on their faces. But three years can change people and a place, and that’s really the point of this story, although Heinlein was good about trying to capture the details of what a moon colony might resemble. It could have been titled “You Can’t Go Home Again,” but Thomas Wolfe had already grabbed that one in 1940. Recommended.
"The Green Hills of Earth" — There’s not really a lot of plot to this story; instead, this is as sentimental as anything Heinlein would write. It celebrates the kind of perfect Heinlein character, a man who is both expert and rough, who doesn’t suffer fools but is willing to give up his life to meet the needs of an emergency. It’s Heinlein trying to make a mythology about space, and succeeding to some extent. I’m too cynical now to enjoy it, too critical. For me, this story doesn’t reveal so much about the future, but about Heinlein’s need to make a hero of the man in the trench, and perhaps that’s because that’s who he assumed as his audience.
“Logic of Empire,” Robert A. Heinlein — I’m sure I had read this story before—I pretty much binged on Heinlein when I discovered him as a teenager—but I didn’t recall any of it as I re-read it recently. That’s probably for the best, as it definitely is not one of his better stories. In fact, the logic proposed here is pretty insidious, if I’m reading this right, in that Heinlein’s saying that slavery—or indentured servitude that for all it is based on economics is basically slavery—is a normal result of exploration and colonization. Given the recent furor over John W. Campbell’s beliefs about the same, it shouldn’t come as a surprise that this was a story that he bought and published first in Astounding. Outside of the questionable logic, the plot and adventure of the story works to some extent, as the main character ends up exploring the nature of that indentured servitude by entering into it himself. Not recommended.
“—We Also Walk Dogs” — The company is called General Services and that’s what they do, anything for anyone as long as its legal (and then, as one character says, that’s a matter of interpretation). Heinlein foresaw Amazon before it existed, although even Amazon doesn’t quite match the concierge options provide by General Services. The plot isn’t really that exciting: once Heinlein establishes what the company does, a government official comes to ask for the seemingly impossible, which of course the company is able to provide. What element of interest in all of this boils down to a piece of art that both the purchasers and the acquirers find stunning, and thereby give them an appreciation of each other. All in all, though, that’s pretty small stakes, and with all the characters seemingly like each other already, hardly a shift that is noticeable. Pass.
"The Black Pits of Luna" — A decent story from the point of view of a young boy on a trip to the moon where his little brother gets lost while on a surface tour. What made this story good at the time was how Heinlein could portray the elements of the science (trips around the moon, the weightlessness, etc.) and combine them with the mundane (kid brothers, mother and father unable to handle their children, etc.). It’s kind of like how Stephen King can ground you in the details of his everyday characters before hitting you with the otherworldly. That said, I’m not sure this story has much more than that going for it now.
"Delilah and the Space-Rigger" — First off, you have to know this was published in 1949. When you realize that, you start to understand just how ahead of its time it was. This is basically a case for non-gender discrimination. The way it’s told is somewhat awkward, but that was the style of the time. The basic story principle is sound; the protagonist has had to deal with all the kind of trouble that comes up in construction sites—booze, gambling—and then thinks he’s got the worst trouble imaginable, a woman in a group of all men. What Heinlein does is show that the individual, the woman, is competent, knows how to handle the situation (in a true Ginger Rogers fashion of having to be even better), and the problem gets resolved through a community response. I was just reading Dan’l Danehy-Oakes comment on a new study of Heinlein that pointed out his viewpoint characters are often sidekicks rather than the main protagonists, and that’s the case here. The protagonist is the construction foreman, Tiny, but the point-of-view of the story is from his number one man, Dad. By doing it this way, Heinlein doesn’t have to tell you the thought processes of the protagonist (or the antagonist), but show them by relaying what Dad hears and sees. It’s a good trick, and one I’ll need to remember.
“Gentlemen, Be Seated!” — A cute tale about how to use your tail in a bind. Accident happens while in a tube on the moon and the three protagonists have to solve the problem of losing their air, including a fairly large hole. The plot and engineering is fine enough, and Heinlein had an understanding of the working man (it’s all men in this story), but for all of that, this story feels slight and less insightful than some of his other moon stories written around this time.
"The Long Watch" — Heinlein was very concerned about the potential of an atomic war. Given his understanding of that, he wrote a number of stories that tried to convey the absolute pointlessness of pre-emptive strikes and other crazy ideas that ran through the political mindsets of the 1950s. And, in the end, he believed he failed—that nothing he had written had quite captured the minds or opinions of those in charge of the launch commands. I’m not sure what he attributed our ability not to blow ourselves up, as a human race, but I doubt he would have put it under our intelligence. This is a story of a single man who decided to avert the use of those weapons. It’s dated now, but there’s still a power to it, akin to Kim Stanley Robinson’s “The Lucky Strike,” in that the decision has to be made by an individual who realizes that if he doesn’t do this alone, something much worse will occur, even suspecting that making that decision spells doom for the individual even if it saves many more people. That kind of heroism is hard to come by, which may be why it’s often in stories.
“Space Jockey” — It’s got a great first line, which was really futuristic for its time, but works even today: “Just as they were leaving the telephone called his name.” The story hinges on the costs of space travel, which Heinlein explains to the reader by using an Earthbound analogy of using only one type of vehicle to transport goods rather than the combinations of “a ferry boat, a subway train, and an express elevator.” Heinlein also set his space force in Colorado Springs, as a military man, but uses a ramp created on the slope of Pikes Peak to launch his rockets into space, something I don’t ever see happening for many reasons. A lot of the story is mechanics, which Heinlein excelled at, making space travel seem believable to his 1950s audience. The plot, as it is, concerns what happens when a cockpit tour goes wrong and a reckless boy hits the jets midflight, wasting fuel and resetting the careful course calculations. But the point of the tale is to glorify pilots, in Heinlein’s case, rugged individuals who take on the difficult task of guiding spaceships. Oh, there’s computers, and autopilots, but it comes down to the skills of one man. (And, in a subplot, the wife back home supporting him, in the gendered roles Heinlein was known for, reflecting the 1950s.) Interesting for the details; cringe for the role stereotypes.
perilous1's review against another edition
5.0
Suggested Alternate Title: SPACE BARD--PORT TO PORT
"I pray for one last landing
On the globe that gave me birth;
Let me rest my eyes in the fleecy skies
And the cool, green hills of Earth."
This "Future History" short story is essentially an account of the life and death of a renowned minstrel named Rhysling--a man who'd worked haphazardly on many a space mission until a radiation accident left him blind and he continued making his way by playing his accordion, writing songs, and hitch-hiking his way around the solar system. A sometimes vulgar wanderer with no offspring, Rhysling's legacy persists in the form of the songs that long outlived him. The story focuses on one in particular--which he happened to put the finishing touches on at the end of his life. His final hurrah is at once sad, fitting, and legendary.
I'll admit, I'm a sucker for rhyme and verse--particularly when it's used to enrich a literary work.
I got choked up trying to relay the intricacy and symmetry of this tale to someone recently. (I don't know that that's ever happened to me before with a short story.) But beyond sentiment, Heinlein's vision for the beginnings to space expansion feels on-key. (Some have called it optimistic, but I think there's far too much low-budget grunge and high mortality rates for that.)
"I pray for one last landing
On the globe that gave me birth;
Let me rest my eyes in the fleecy skies
And the cool, green hills of Earth."
This "Future History" short story is essentially an account of the life and death of a renowned minstrel named Rhysling--a man who'd worked haphazardly on many a space mission until a radiation accident left him blind and he continued making his way by playing his accordion, writing songs, and hitch-hiking his way around the solar system. A sometimes vulgar wanderer with no offspring, Rhysling's legacy persists in the form of the songs that long outlived him. The story focuses on one in particular--which he happened to put the finishing touches on at the end of his life. His final hurrah is at once sad, fitting, and legendary.
I'll admit, I'm a sucker for rhyme and verse--particularly when it's used to enrich a literary work.
I got choked up trying to relay the intricacy and symmetry of this tale to someone recently. (I don't know that that's ever happened to me before with a short story.) But beyond sentiment, Heinlein's vision for the beginnings to space expansion feels on-key. (Some have called it optimistic, but I think there's far too much low-budget grunge and high mortality rates for that.)
andreashappe's review against another edition
3.0
Always remember that the stories were written between 1941-49 and the collection published in 1951. So this is a bit of retro reading at least. I assume that Heinlein was more progressive than average, so this is more a statement about its time. Morals when it cam to women and marriage were.. a lot different (remember, that this was pre-contraception). Computers were hardware as well as people doing it. Sentiment about natives (e.g., native american ones) was different, reading the n***** word was still very unusual for me.
It's easy to see that those stories were written over a span of eight years, they range from something that now would be a children's book or YA to more sinister themes. Overall, it's a short read and joyful, but don't forget the times when it was written.
It's easy to see that those stories were written over a span of eight years, they range from something that now would be a children's book or YA to more sinister themes. Overall, it's a short read and joyful, but don't forget the times when it was written.
ugoglen's review against another edition
fast-paced
A collection of more short stories, of variable quality. Some definitely aged better than others.
spinnerroweok's review against another edition
4.0
A series of short space stories that tell the future through the perspectives of engineering, politics, and commerce. I love the out of date language. It gives the stories some real flavor.
bookwormerica's review against another edition
5.0
Collection of small stories .
Heinlein 1 for the year
Heinlein 1 for the year
hotsake's review against another edition
3.0
Short story collections and Anthologies aren’t really my thing, I always feel slightly disappointed anytime I finish one.
The stories in this collection ranged from average to great.
The stories in this collection ranged from average to great.
thomcat's review against another edition
3.0
Collection of stories, first published in 70 years ago. All predate manned space flight (60 years ago), but many capture the science. Some are a bit dated and some do little more than showcase his political leanings. In other words, classic Heinlein.
My favorites were probably "The Long Watch" and "Gentlemen, be seated", and "We Also Walk Dogs" was cute. "It's Great to Be Back" just wasn't that good.
My favorites were probably "The Long Watch" and "Gentlemen, be seated", and "We Also Walk Dogs" was cute. "It's Great to Be Back" just wasn't that good.
bickleyhouse's review against another edition
5.0
Robert Heinlein, the first Grand Master of Science Fiction, most definitely earned his title, especially when it comes to short stories. He was certainly a master of the genre. The Green Hills of Earth is a wonderful collection of stories, all Science Fiction in the truest sense of the phrase.
Each of the stories involves space travel of some kind, and many of them are connected, not by main characters, but by, for example, a common city or corporation. "Supra New York City" appears in several stories, as does Luna City. The name Harrigan shows up several times, as a corporation/entity.
Ahead of his time in many ways, Heinlein also addressed issues that we still seem to be struggling with in the 21st century. The first story, "Delilah and the Space Rigger," deals with the awkwardness of sexism in the work place, and has a somewhat humorous conclusion.
"Space Jockey" has an element of identity crisis, coupled with issues within a marriage, as a pilot struggles with trying to land a permanent ship route, or possible quitting altogether, so he can stay in one place with his wife.
"The Long Watch" was a favorite story, as a lone man takes on a military commander who would sacrifice innocent settlements for his cause.
"Gentlemen, Be Seated" features Heinlein's sense of humor, wherein a group of men trapped in a tunnel on the moon, seal a leak and save themselves by, well, sitting down.
In "The Black Pits of Luna," an adolescent boy makes a daring decision to save his younger brother who has wondered away from the group on the surface of the moon.
"It's Great to be Back" deals with the idea that "home" is where you are most comfortable, and is not always the place whence you came. A couple, after living "in" the moon (Luna City is underground) for a while, decides to go "home," only to discover that New York seems much different now. Only it isn't different . . . it is their perspective that has changed.
"'--We Also Walk Dogs'" is another somewhat tongue in cheek story about a specialty corporation that can pull off just about anything you want done. And yes, they also walk dogs. In this case, "walking the dog" turns out to be a euphemism, as they are challenged to accomplish something previously thought impossible.
"Ordeal in Space" was slightly confusing to me, in terms of what was actually happening, but below the surface, it deals with overcoming phobias.
In "The Green Hills of Earth," Heinlein gives us a charming biography of a travelling spaceman, known for his folk-songs, many of which are reportedly too vulgar to feature in the "article." Another favorite of mine.
And in "Logic of Empire," Heinlein deals with the issue of corporate slavery, of a legal nature. A man and his friend, after a drunken binge, decide to sign up for a stint on Venus, in a labor corporation. Only one of them doesn't remember doing so, so he suffers quite a shock when he awakes on the ship from Earth to Venus. This story also addresses the topic of corporate greed, with which Western society struggles more than ever, in 2021. Also a favorite story in the bunch.
Again, as a lover of the short story genre, I appreciate Heinlein's work so very much. His writing style and humor have always appealed to me, and the characters seem real, almost like I know them personally. And I half-expect one of them to bump into a character from one of the other stories. This book also features a time line chart, at the front, showing the time line of the stories, characters, technological, and sociological developments.
And while each story deals with some aspect of space travel or life on places other than earth, there are other elements of life that are addressed, below the surface of each one. Heinlein was way ahead of his time, both scientifically and sociologically.
Each of the stories involves space travel of some kind, and many of them are connected, not by main characters, but by, for example, a common city or corporation. "Supra New York City" appears in several stories, as does Luna City. The name Harrigan shows up several times, as a corporation/entity.
Ahead of his time in many ways, Heinlein also addressed issues that we still seem to be struggling with in the 21st century. The first story, "Delilah and the Space Rigger," deals with the awkwardness of sexism in the work place, and has a somewhat humorous conclusion.
"Space Jockey" has an element of identity crisis, coupled with issues within a marriage, as a pilot struggles with trying to land a permanent ship route, or possible quitting altogether, so he can stay in one place with his wife.
"The Long Watch" was a favorite story, as a lone man takes on a military commander who would sacrifice innocent settlements for his cause.
"Gentlemen, Be Seated" features Heinlein's sense of humor, wherein a group of men trapped in a tunnel on the moon, seal a leak and save themselves by, well, sitting down.
In "The Black Pits of Luna," an adolescent boy makes a daring decision to save his younger brother who has wondered away from the group on the surface of the moon.
"It's Great to be Back" deals with the idea that "home" is where you are most comfortable, and is not always the place whence you came. A couple, after living "in" the moon (Luna City is underground) for a while, decides to go "home," only to discover that New York seems much different now. Only it isn't different . . . it is their perspective that has changed.
"'--We Also Walk Dogs'" is another somewhat tongue in cheek story about a specialty corporation that can pull off just about anything you want done. And yes, they also walk dogs. In this case, "walking the dog" turns out to be a euphemism, as they are challenged to accomplish something previously thought impossible.
"Ordeal in Space" was slightly confusing to me, in terms of what was actually happening, but below the surface, it deals with overcoming phobias.
In "The Green Hills of Earth," Heinlein gives us a charming biography of a travelling spaceman, known for his folk-songs, many of which are reportedly too vulgar to feature in the "article." Another favorite of mine.
And in "Logic of Empire," Heinlein deals with the issue of corporate slavery, of a legal nature. A man and his friend, after a drunken binge, decide to sign up for a stint on Venus, in a labor corporation. Only one of them doesn't remember doing so, so he suffers quite a shock when he awakes on the ship from Earth to Venus. This story also addresses the topic of corporate greed, with which Western society struggles more than ever, in 2021. Also a favorite story in the bunch.
Again, as a lover of the short story genre, I appreciate Heinlein's work so very much. His writing style and humor have always appealed to me, and the characters seem real, almost like I know them personally. And I half-expect one of them to bump into a character from one of the other stories. This book also features a time line chart, at the front, showing the time line of the stories, characters, technological, and sociological developments.
And while each story deals with some aspect of space travel or life on places other than earth, there are other elements of life that are addressed, below the surface of each one. Heinlein was way ahead of his time, both scientifically and sociologically.