FOR US THE LIVING BY ROBERT A. HEINLEIN

As thinly fictionalized lecture series, the book failed, for much the same reasons Robert himself had failed of election the previous year: in 1939, most of his ideas were—one is quite unsurprised to learn—wildly ahead of their time, radical, and opposed by powerful societal institutions. Nonetheless, though unpublishable then, its completion was an event of almost inexpressible importance in twentieth century English letters.

Because here, I think, is what happened:

On some unknown day in the first four months of 1939, Robert Anson Heinlein sat looking gloomily at a carbon of the manuscript that had just been rejected a second time and found himself thinking back over the whole long, painful period of its creation—the endless hours hunched over a typewriter, staring at a blank piece of paper until beads of blood formed on his forehead. And as he did so, two revelations came to him, in this order:

First, he realized, with surprise and warm pleasure, that the most enjoyable, almost effortless part of the entire experience had not been the world-saving he’d set out to accomplish, not the logical theories, mathematical proofs, or clever arguments of which he was so proud … but the storytelling part, that he had intended only as a come-on for the crowd. All at once, I think, it came to him that the lecturer must remain standing in the square, on a rickety soapbox, and speak at the top of his lungs, and be heckled by boobs . . . but the storyteller sits in cross-legged comfort in the shade, and his listeners crowd round to hear him whisper, offering beer for his sore throat. And when he is done, they give him money, without him even asking.

Second, he looked back over the lengthy and detailed imaginary future he had just thrown together as a set decoration, and saw the ideas stacked all round its empty stage … and realized it offered him a canvas so broad that, given enough time, he might contrive to spend all the rest of his working days in the sheer joy of telling stories, creating friends and heroes out of nothing, leaping across galaxies and inside hearts—and still end up putting across every insight and opinion he felt the world needed to hear.

In that moment, he understood for the first time that he wanted to be a storyteller. That he wanted to be a science fiction writer. No, I’m wrong: he realized that he was a science fiction writer—and accepted his doom. In the terminology of Roger Zelazny’s immortal novel Lord of Light, he took on his Aspect, and raised up his Attribute, and was born a god. In that moment, he ceased being Bob Heinlein, shipwrecked sailor and unemployed engineer, and became RAH, the Dean of Modern Science Fiction—the Man Who Sold The Moon—Lazarus Long, who cannot die. In my dreams, I can almost imagine what it must have felt like.

When he was good and ready, he announced the news to the rest of us, by sitting down in April and producing, first crack out of the box, one of the most unforgettable pieces of short fiction in the English language, “Lifeline.” Two years later, he was the Pro Writer Guest of Honor at Denvention, the Third World Science Fiction Convention in Denver, and everyone in that banquet hall already knew he owned the field. Five months after he gave his famous Guest of Honor speech on time-binding, “The Discovery of the Future,” Japan blindsided Pearl Harbor. But once that pesky distraction had been dispensed with, Robert turned his attention to the wow-science fiction literary world, and conquered that, too, with an ease, elegance, and speed that Hitler and Tojo could have learned from.

But everything began on that unknown day or night sometime in early 1939, when Robert had his own personal equivalent of the blinding flash in which Nikola Tesla suddenly saw in his head a complete 3-D working model of the first-ever AC electric motor, correctly tuned and broken in, ready to be manufactured without delay for testing.

The seeds of many of Robert’s major novels are clearly visible, here, needing only room and time to grow. The essential core of his entire career is implicit as DNA code buried in the pages of For Us,The Living: it constitutes an overflowing treasure chest of themes, ideas, theories, concepts, characters, and preoccupations he would draw on again and again for the next half century to inform his stories. Time travel; multiple identity; transcendence of physical death; personal privacy; personal liberty; personal and political pragmatism; using good technology for personal hedonistic comfort; balancing of privilege and responsibility; the arts, and especially new future artforms like dance in variable gravity; the metric system; rolling roads; then-unconventional loathing of racism, sexism, and anti-Semitism; Alfred Korzybski’s general semantics; alternate histories; the nature of sexual love; alternatives to monogamy and conventional marriage; spirituality; the pseudospirituality of the loathsome Nehemiah Cheney—excuse me, Scudder; The Crazy Years; space travel, the Moon, and Diaspora to the stars . . . it’s all here, nascent, in thumbnail view. So is that splendid, unmistakable voice.