[edit : des exemples trouvés en ligne et en anglais
d'articles critiques sur Heinlein et ses textes]
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•
Rafeeq O. McGiveron,
"He 'Just Plain Liked Guns': Robert A. Heinlein and the 'Older Orthodoxy' of an Armed Citizenry."
in
Extrapolation, Winter 2004, 45 (n°4) : pp. 388-407.
Quote:
Extrait de la conclusion :
It is easy enough to misinterpret Heinlein's love for the gun, especially for those whose "talents ha[ve] been devoted to literary criticism" (Past, 590). To side, essentially, with the mentality of mass murderes rather than that of armed peoples who would remain free (Aldiss, 468, n. 43), to sniff disdainfully at a supposed "phallocentric weapons culture" (Williams, 165), to pretend that Heinlein's "Channel Markers" speech glorifies "baboon patriarchy" (Le Guin, 210) instead of self-sacrificing patriotism and self defence--all of this is the carping of those who forget that "wishful thinking" will not stop the naked force of human predation (Starship Troopers, 24). "I don't know what planet those pious pacifists are talking about," Heinlein told the 1973 graduating class at Anapolis with acerbic yet accurate judgment, "but it can't be the third one from the sun" ("Channel Markers", 176).
Il cite :
Aldiss & Wingrove,
Trilion Year Spree: History of Science Fiction. 1986.
Le Guin, "
American Science Fiction and the Other".
Science Fiction Studies, 2 (Nov. 1975): 208-10.
Williams, "
The Moons of Le Guin and Heinlein".
Science Fiction Studies, 21 (July 1994): 164-75
•
Rafeeq O. McGiveron,
"Maybe the hardest job of all—particularly when you have no talent for it": Heinlein's fictional parents, 1939-1987in
Extrapolation, 2003.
> L'intégralité de l'article est à découvrir ici.
•
Rafeeq O. McGiveron,
“From Free Love to the Free-Fire Zone: Heinlein's Mars, 1939-1987.”in
Extrapolation, Summer 2001, 42 (n°2) : pp. 137-49.
Quote:
Extrait :
Although as early as 1942, with the inscrutable super-stratospheric ball-lightning creatures of “Goldfish Bowl,” Robert A. Heinlein undermined the pulp science fiction cliché that Mars was the nearest home of intelligent alien life, Heinlein still clung to the idea of Mars as the cradle of an alien civilization in fact for at least another decade and in fiction for a decade longer, and the planet—colonized by humans though not necessarily inhabited by Martians—appeared in the background of his works until the end of his career.
> L'intégralité de l'article est à découvrir ici.
•
Rafeeq O. McGiveron,
“Heinlein's Solar System, 1940-1952."in
Science Fiction Studies, July 1996, 23 (n°2) : pp. 245-52.
[In the following essay, McGiveron explores the role of extraterrestrials in Heinlein's fiction.]
Quote:
Extrait :
Despite his apparent dismissal of “the harsh bright soil of Luna” and the jungles of a pulp-fiction Venus “Crawling with unclean death,” Rhysling [“Noisy” Rhysling, the wandering blind poet of the spaceways in Robert A. Heinlein's “The Green Hills of Earth” (1947)] can not help but admit the beauty of “Saturn's rainbow rings,” “the frozen night on Titan” (Past, pp. 372-23), and, in another poem, the canals and graceful towers of a Lowellian Mars...
Résumé :
One aspect common to much of Robert A. Heinlein's early work, from the FUTURE HISTORY stories through the Scribners juveniles, is his depiction of a Solar System populated in the past or the present by four different extraterrestrial civilizations. These worlds, some extinct and some thriving, serve the purpose of humbling the brash young human species. The self-destructive failures of Luna and Lucifer and the unexpected flourishing of Venus and Mars remind us that humans still have far to progress both intellectually and morally.
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