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Stranger in a Strange Land (1961)

de Robert A. Heinlein

Outros autores: Veja a seção outros autores.

MembrosResenhasPopularidadeAvaliação médiaMenções
9,506138600 (3.9)384
The epic saga of an earthling, born and educated on Mars, who arrives on our planet with superhuman powers and a total ignorance of the mores of man.
Adicionado recentemente porableal, LonLucePolak, nmwiegand, Jamb0, kukulaj, dferdiaz, conkaza, mattkronk, NickUpson, Avencejo
Bibliotecas HistóricasTim Spalding
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1960s (12)
Read (294)
Read (25)

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Mostrando 1-5 de 137 (seguinte | mostrar todas)
DNF'd on September 14, 2021, 314 pages into my 438-page copy. My book club was the only reason I made it as far into this as I did, and our discussion left me with zero interest in reading the last 124 pages. The sexism was annoying but bearable, up until Mike became a "man" and ran off with Jill, who seemed to have morphed into a completely different person. Also, I had to laugh that this author who was clearly trying so hard to write a world that broke every taboo still somehow couldn't envision homosexuality as natural and acceptable.
  Familiar_Diversions | Oct 3, 2021 |
Too much misogyny. Too much racism.

I really wanted to like this book. The themes and concepts presented are worth exploration. But Heinlein is not my grandfather so I can't excuse his outdated language towards women and minorities. Such a disappointment. ( )
  chrisofspades | Sep 24, 2021 |
I seem to be hit-or-miss with Heinlein. I have read and enjoyed Starship Troopers and The Glory Road; however I couldn't finish Job: A Comedy of Justice and was not impressed with Stranger in a Strange Land (SISL) ... It is simply NOT good Science-Fiction (even if it is a fair piece of satire).

The book is divided into five (5) parts ...

Part One [His Maculate Origin] was a good Sci-Fi plot that I actually enjoyed ... the premise being that of a lost human boy raised by non-humans (in this case Martians) along the lines of Tarzan of the Apes and The Jungle Book (which is thought to have been his original inspiration for the story). Next to nothing is actually revealed about Valentine Michael (Mike) Smith's time with his adoptive people, but the story keeps humming along with a little political intrigue and mystery. Unfortunately the plot begins to sink after this until it practically disappears by the end. The koolest concept here has to be the 'Fair Witness' characters ... A very limited version of human machine proxies that could easily be the precursor to the better developed Mentats of the Dune saga.

Part Two [His Preposterous Heritage] introduces what is arguably the true main character in the story and Heinlein's alter ego, Jubal Harshaw, who proceeds to introduce 'Mike' to all the ills of human society. This wasn't all that bad a satire actually, even when Jubal waxes on the sermon a bit too much (it had the feel of watching re-runs of "Abbott and Costello', 'I Love Lucy' or 'The Dick Van Dyke Show.') Mike really takes a back seat here so that Jubal can pontificate at will, but the humor of it all was still mildly entertaining. Presumably Jubal's female secretaries provide the strong gender examples that Heinlein is noted for ... They are also incredibly shallow and boring (or as presented in one discussion thread ... They differ by a haircut). There is absolutely NO character development for anybody except Mike from here on out; and as far a Mikey is concerned, all of his character development happens all at once as he is 'wondrously converted from Tarzan/Mogli into the next Messiah of humanity. We also get two main plot items ... The term 'grok' which became a cult classic in the late 60's and the revelation that Mike has a super power to go with his naiveté that just about blows any plot discipline out of the water for the remainder of the story.

"Thou Art G-d" saith the Man from Mars ...

The rest is a complete Grokk.

Part Three [His Eccentric Education] was an attempt to develop Mike a little further so that he learns the 'art of the con' that is apparently required to make a go of any religion. Mike needs this, because he wants to harness such shams to 'trick' humans into accepting his rather dubious views on human society (which social change has now exposed as mildly sexist and homophobic).

Part Four [His Scandalous Career] Here is where Jubal comes back on stage in order whip the reader with guilt to make it easier to accept Heinlein's free love society. That is really all that you find here. We get such gems as: "I can at least see the beauty of Mike's attempt to devise an ideal human ethic and applaud his recognition that such a code must be founded on ideal sexual behavior ..." Really? Even if accepted as true, Heinlein completely FAILS to explore this concept other then to say that it is obviously good. To support his claim, he gives us a voyeuristic look into his 'Nest' (aka Harem) where such physical contact is open, natural and without jealousy BECAUSE everyone is an equally great looking sex god following the true path to happiness. The problem? We the reader get NO insight into how Mike's disciples change their thinking. They just do ... Possibly because they now see the inherent 'rightness' of the concept once it is properly explained to them (the only instance we get of that is between Jubal and Ben Caxton and that is left unresolved at the end of the encounter).

Part Five [His Happy Destiny] After such a stinging rebuke of Christianity (specifically) earlier in the story, it seems surprising the Heinlein would so blatantly force the 'Passion of Christ' upon his protagonist here; and with very little rationale other then some need to highlight one of his more hypocritical definitions of 'grok' that includes consuming the physical body of a person in order to truly know him. Add to this a complete moral bankrupcy where it is okay to cheat, steal and kill as needed and I do not see any appeal what so ever to Heinlein's proposed utopia. Sure ... I get the fact that the story is not supposed to be realistic (it is supposed to be satire) and that it was not intended to be a guide to a practical utopia, but that just doesn't save the later half of the story from being so preachy and simpleminded that it not only obscures the "important questions" about contemporary social mores (specifically sex and religion), it actually fails to entertain with its long-winded monologs defending the 'rightness' of the title character's views on the subjects. While Heinlein may not have intended to provide convenient answers to the questions he thought he was raising, that is in fact what he did, displaying a remarkable ignorance of basic human psychology that ultimately dooms his 'social commentary' to failure. ( )
1 vote Kris.Larson | Sep 13, 2021 |
It is the story of Valentine Michael Smith, the man from Mars who taught humankind grokking and water sharing. And love.
  Daniel464 | Aug 19, 2021 |
I first read this back in high school, where it had a strong positive impression on me. Reading it again, I was primarily aware of the persistent, unpleasant chauvanistic paternalism of the main characters. The women are all gorgeous, smart, intuitive, witty -- and happily subordinate to the men in their lives. Blech!

Beyond that, the story of Michael Valentine Smith and his idealistic, Martian-influenced vision of what human beings are capable of in terms of both mental powers and staggeringly open hearts, continues to be intriguing.

I'm glad I re-read it, but it's no longer a favorite of mine. ( )
  jsabrina | Jul 13, 2021 |
Mostrando 1-5 de 137 (seguinte | mostrar todas)
The great falling off in the quality of Heinlein's work came during the period that brought "Stranger in a Strange Land." Jubal Harshaw--who says things like "What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation"--is the first of a series of pompous libertarian windbags whose oral methane makes all of Heinlein's later tomes into rapidly emptying locker rooms.

Most of the material added to this new edition seems to consist of speeches by Jubal, and the rest of the new material includes nominally "shocking" sections that, aired in 1990, are glaringly sexist. For instance, lovable Jill volunteers the opinion that "Nine times out of ten, if a girl gets raped, it's at least partly her own fault."
adicionado por SnootyBaronet | editarLos Angeles Times, Rudy Rucker

» Adicionar outros autores (67 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Heinlein, Robert A.autor principaltodas as ediçõesconfirmado
Bergner, Wulf H.Tradutorautor secundárioalgumas ediçõesconfirmado
Boyle, NeilArtista da capaautor secundárioalgumas ediçõesconfirmado
Dirda, MichaelIntroduçãoautor secundárioalgumas ediçõesconfirmado
Gällmo, GunnarTradutorautor secundárioalgumas ediçõesconfirmado
Giancola, DonatoIlustradorautor secundárioalgumas ediçõesconfirmado
Heinlein, VirginiaEditorautor secundárioalgumas ediçõesconfirmado
Holitzka, KlausArtista da capaautor secundárioalgumas ediçõesconfirmado
Hundertmarck, RosemarieÜbersetzerautor secundárioalgumas ediçõesconfirmado
Hurt, ChristopherNarradorautor secundárioalgumas ediçõesconfirmado
Lundgren, CarlArtista da capaautor secundárioalgumas ediçõesconfirmado
Nottebohm, AndreasArtista da capaautor secundárioalgumas ediçõesconfirmado
Pennington, BruceArtista da capaautor secundárioalgumas ediçõesconfirmado
Santos, Domingo,Tradutorautor secundárioalgumas ediçõesconfirmado
Warhola, JamesArtista da capaautor secundárioalgumas ediçõesconfirmado
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Once upon a time there was a Martian by the name of Valentine Michael Smith.
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Please distinguish this edited first publication of Heinlein's Stranger in a Strange Land (1961) from the "original, uncut" version (1991). This would be ISBN #s 0-399-13586-3, 0-450-54267-X and 0-441-78838-6 and Science Fiction Book Club editions of 1991 (#17697 and a leather bound edition). There is a 60,000 word difference between the two. Thank you.
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The epic saga of an earthling, born and educated on Mars, who arrives on our planet with superhuman powers and a total ignorance of the mores of man.

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