The Misfit Genius
A recurring motif through Heinlein’s fiction is the misfit genius. The title character of “Misfit” will himself become a recurring character readers encounter again when they move to Heinlein’s novels, but he is far from the only one. Heinlein’s geniuses are isolated individualists who are often hampered by physical or psychological disabilities. They range from the inventor Pinero in “Life-Line” to the title character of “Waldo.” The misfit genius becomes a symbol for the conflicted nature of individualism which can pursue the path of good or evil and does not exist as an independently positive or negative characteristic.
Weightlessness
Gravity becomes a symbol in reverse. Characters who are bound by gravity experience freedom through a processing of artificial gravity. “Waldo” is a character literally bound to a wheelchair by a degenerative muscle disease who experiences freedom by making his home in a satellite not subject to the same effects of gravity as it would be on earth. “We also Walk Dogs” uses artificial gravity as a means of extending the freedom of flight to facilitate the purpose of peace. Thus, weightlessness is used as symbol in many stories for both literal and metaphorical freedom.
Monopolies
Heinlein’s economic views were much as his views on politics: conservative. He was a fervent anti-communist who held firmly to his conviction that left alone to proceed naturally, the laws of supply and demand would eventually work out for the economic betterment of all. Monopolies were not part of this strategy, however, since such dominant centralized control of supply would by definition impact demand unnaturally. As a result, Heinlein’s work is often seen incorrectly interpreted as anti-business, which would be a theme. A closer reading reveals that his economic views are sustained by using monopolies as a symbol within the thematic construction of Heinlein’s celebration of individualism. It is the specificity of monopolies—and not Big Business in general—that become the antagonist of such stories as “Life-Line,” “Let there be Light” and “The Devil Makes the Law.” As the title of that last story suggests, monopolies are a symbol of evil influence in the struggle to maintain individualism.
Time Travel
Time-travel is a motif that recurs in a number of Heinlein’s stories yet is pursued in a variety of ways. Although writing within the generic conventions of science fiction, Heinlein’s foremost time travel stories—“All You Zombies—,” “Elsewhere” and “By His Bootstraps”—use this motif as a means of exploring metaphysical ideas rather than focusing on plot. Time travel is utilized for the purpose of exploring notions related to identity and personality rather than just narrative gimmicks.
Houses
Houses are prevalent in the stories of Heinlein as a symbol of…well…home. When the author focuses attention on the importance of a house to its owner, it really does become more than just literal domicile, it is a metaphorical incarnation of some aspect of personality. The house in which “Waldo” lives is specifically located to decrease the effects of gravity and loosen a dependence which his muscular disorder cannot abide. So his house is a symbolic of the power he enjoys only when he’s at home. The house in which the protagonist of “They” lives is, by contrast, not a home at all because it is all an artificial construct designed for the purpose of deceit and control by external entities. The four-dimensional tesseract domicile of “And He Built a Crooked House” aligns thematically with the title because it is not really a “home” at all since it exists merely to prove the genius of its architect rather than to please the domestic requirements of its owners.
