51 pages • 1 hour read
Robert A. HeinleinA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
While having dinner, Ben and Gillian watch a video of Douglas and a wheelchair-bound Smith addressing the public. Smith seems to recite a planned speech in which he thanks Van Tromp and his crew for “rescuing” him. He says he is excited to broker relations between Earth and Mars. The video ends, and Broadman claims the man in the video is not Smith but an actor. They deduce that either Smith is dead or Douglas will keep him hidden forever to manipulate the situation to his advantage. Caxton plans to use legal means to get Smith discharged and then take him to his friend, Jubal Harshaw, a well-known doctor and lawyer. He hopes that having Smith in the custody of a public figure will make Douglas think twice about using force to get him back.
Back at the hospital, Gillian learns that Smith has been transferred to another facility. She calls Caxton at work but is told he has left town. Caxton, meanwhile, retains a lawyer and “Fair Witness,” James Oliver Cavendish. They arrive at the medical center demanding to see the director but instead are greeted by Gil Berquist, “one of Douglas’s platoon of stooges” (45). Caxton asks to see Smith, but Berquist refuses. When Caxton implies the televised interview was faked, Berquist finally agrees to an interview. He leads Caxton to Smith’s room where the reporter asks Smith if he wants to leave; Smith answers no. When Caxton asks him a question he can’t answer, he retreats into a “trance.” Caxton is convinced this is not Smith. Later, Cavendish comments that a true Martian would not display callouses like a human being due to living in lower gravity. Caxton phones Dr. Nelson, Smith’s doctor, for verification, but Nelson hangs up when the conversation becomes dangerous. He then calls Douglas directly, but the police trace the call, override the robot cab driver, and redirect it to police headquarters.
While Gillian considers Caxton’s absence and Smith’s disappearance, she is called to watch a patient—the woman now occupying Smith’s former room. When she goes into the adjoining sitting room, she finds Smith, who greets her as “water brother.” She is shocked to find him here but also knows she cannot stay. She promises to return.
Soon after, Gillian slips back into Smith’s room. She sneaks him out and takes him to the roof, where they board a taxi headed for Gillian’s apartment. Smith’s attempts at communication are still challenging, but he and Gillian settle into a mutual affability. As they near her apartment, she realizes that is the first place the police would look. Since Caxton is missing, they head to his apartment instead. Caxton’s apartment, however, is only a temporary refuge, and she resolves to find Jubal Harshaw. In the meantime, she runs him a bath, a tremendous privilege from his Martian perspective. While getting him dressed, the authorities—Berquist and another man—break in and try to take Smith into custody. When the other man gets rough with Gillian, Smith reaches for him, and he vanishes. When Berquist pulls a gun, Smith vanishes him as well. Gillian screams, and Smith, fearing he’s done the wrong thing, lapses into one of his low metabolic trances. When she can’t rouse him, she packs him into a suitcase and wheels him out of the building.
Secretary General Douglas discusses Smith’s disappearance with his wife, Agnes, who fears the political opposition will use it against him. She goes to her private suite and consults her astrologer, asking her to cast a horoscope for Smith, a task that proves impossible since Smith was not born on Earth. Eventually, she advises Agnes to remain calm and avoid hasty decisions. Agnes then tells her husband’s public relations advisor to release a statement claiming that Smith has retired to the Andes.
Jubal Harshaw sits by his pool dictating stories to his secretaries—Anne, Dorcas, and Miriam—when Gillian shows up with a still-catatonic Smith. Jubal examines him, believing he’s dead, but suddenly hears a faint heartbeat. Gillian cautions against using stimulants and rouses him herself. After Gillian fills Jubal in on the details of their escape, he orders his assistant to activate the electric fence and conceal all evidence of Smith’s presence.
After a nap, Gillian discusses Smith’s case with Jubal. He doesn’t want to get involved but offers his hospitality nonetheless. After dinner, Gillian looks for a “stereo tank” to watch the news, but the house seems to have no access to the outside world. Meanwhile, Jubal questions his decision to let them stay—sooner or later, he will be confronted by the authorities. After some thought, however, he decides to “strike a blow for liberty” (89).
Martian society differs greatly from its human counterpart. “Nymphs” (young Martians) are female, and adults are male. Sex would not be recognizable to a human. On Earth, Terran “bipolarity” (the male/female dynamic) is unique, driving all human creation from art to science. Time on Mars moves slower than on Earth, the “Old Ones” taking up to a millennium to “grok” (consider/learn thoroughly) a new issue. Most recently, the Old Ones are contemplating the destruction of the “fifth planet.”
Smith, meanwhile, acclimates to Jubal’s home. He reads law and medical journals but mostly enjoys lying at the bottom of the pool in a meditative state. Under Gillian’s tutelage, he quickly adapts to behavioral norms. For his part, Jubal fears the government may be aware of Smith’s location and staking out his compound.
One day, Gillian announces she’s leaving to search for Ben, but Jubal informs her that he’s already dispatched a private detective to investigate. He fears Ben is in danger, not out on a story as his last message implies. He knows of Ben’s visit with the phony Smith, and the cab that Ben and his Fair Witness rode in was reported “in for repairs” (101). Jubal suspects that Berquist is behind Ben’s disappearance. Gillian tells him about Smith disappearing Berquist. Intrigued, Jubal summons Smith and one of his secretaries, Anne (also a licensed Fair Witness), to his study to see if Smith can repeat the trick.
In these chapters, Heinlein veers into conspiracy territory as Caxton, the reporter who gets too close to the truth, is taken by shadowy government forces. Gillian Broadman and Jubal Harshaw, the only ones who suspect his kidnapping, scramble to locate him without endangering his life. The government’s secrecy is a direct result of Smith’s cultural significance and his wealth. Heinlein spells out the precise legalities involved—legalities that are distinctly Terran and could determine how much money and property (the entire planet of Mars) Smith stands to inherit. The Martian Old Ones would likely scoff—if scoffing was in their nature—at the notion of one person “owning” a planet. Their concerns are far more philosophical and long-term—how to assess art that has been created after discorporation, for example. Heinlein sees humans as petty and unevolved compared to their Martian neighbors. If Smith is an example of a typical Martian, they are naïve to human vice but wise beyond their apparent childlike innocence. Like other alien species in science fiction from this era, they are more concerned with “grokking” profound issues of existence than trivial matters of money or power. Heinlein does make one reference to the annihilation of the inhabitants of the fifth planet, but even this act of destruction is not accompanied by wrath or malice: Rather, the Martians “cherish and praise the people they had destroyed” (93), suggesting a concept of death far different from humanity’s.
Heinlein constructs Martian society meticulously as quite distinct from Terran. Martian art is “a series of emotions arranged in tragic, logical necessity” (92). Although a “bipolar” (male/female) species, the nymphs, young ones, are female while the adults are male. Sex in the human sense is impossible, and Martian reproduction is utterly unlike the human process. Heinlein theorizes that all human activity is dictated by the sexual drive, a concept Martians would find baffling at best. Nonetheless, as Smith learns about human sexuality, he comes to see it as one of the best things about humanity, and The Intersection of Sex and Spirituality will be at the core of his theology.
More often, though, Heinlein uses the stark differences between species to highlight human fallibilities (the obsession with materialism, for example). Smith’s fixation on sharing water is as odd to Gillian as clothing is to Smith. And it’s not a neutral comparison. Heinlein argues that Martian priorities are more holistic and evolved.
In the character of Jubal Harshaw, Heinlein explores libertarianism and hedonism. Jubal believes in Individual Freedom as the Ultimate Social Good. Humans, in his view, should be free to do as they please so long as their actions don’t harm others. In Jubal’s world, that translates to having three young, attractive secretaries lounging by his pool. Heinlein has been accused of misogyny, and evidence for it certainly exists on the page, but it’s also worth noting that most of his female characters display intelligence and skill (in addition to their physical appearance). Gillian is intelligent and resourceful, despite Jubal’s condescending directives to “Use your head” (97). His secretary, Anne, is a licensed Fair Witness, a job requiring keen skills of observation and impartiality. When Jubal gets too cantankerous, his secretaries throw him in the pool. While an argument can be made that Heinlein’s women are helpless cliches, there is enough textual evidence to support an effective counterargument. Focusing exclusively on Jubal’s casual sexism overlooks the thematic significance of his character, which advocates for unbridled sexual and intellectual freedom for both men and women.
By Robert A. Heinlein