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Double Star
by Robert Heinlein
A Book Review Essay
By Sally Morem
I read Robert Heinlein’s novel,
 Double Star 
, back in the Seventies andenjoyed it. It was a fun read. I didn’t think about it all that much at thattime. But, after rereading it in the Nineties, after years of serious reading inthe SF genre, I realized I
really
liked it. This surprised me. Old sciencefiction usually doesn’t age that well. After thinking about the storystructure, the setting, the plot, andthe characters, I believe I’ve come upwith a good analysis of why the story works as well as it does.
Reader Alert:
In order to analyze Heinlein’s work thoroughly, I will begiving away every major plot point and the final dénouement in this essay.If you haven’t read this novel yet and want to avoid plot spoilers, getyourself a copy and read it before reading the rest of this essay. You have been warned.
Cast of Characters:
Actor—Lawrence SmithPolitical Leader—John Joseph BonfortePilot—Dak BroadbentSecretary—Penelope RussellTherapist—Dr. Capek Political Secretary—Roger CliftonPress Secretary—Bill Corpsman
 Double Star 
is that rarity, a Heinlein novel thatpretends to be light, escapistfare, but actually manages to delvedeeply into questions of human psychology and identity. The story includes comparatively little action. Theonly time Lawrence Smith and Dak Broadbent are in any real physicaldanger is when they’re forced tosave their own lives by killing a human and
 
a Martian near the beginning of the story. But, this merely serves as a plotdevice to plungenovice protagonist Smith deeply into some viciousinterplanetary politics. The really nasty stuff—the kidnapping and druggingof Bonforte, the leader of the opposition party, happens ‘off-stage.’This is Lawrence Smith’s story. Not Bonforte’s or even Broadbent’s, who,in an ordinary, action-packed,Fifties space opera, would be the natural protagonists. The fact that this is Smith’s story, one which he tells in first- person, past-tense all the way through, is significant, for reasons that will become clear later.Like any good writer, Heinlein begins his novel at the beginning. In thiscase, he opens with a scene set in a stereotypical low-life bar in Spacetown.This is where Smith and Broadbent meet. And, like all the best writers,Heinlein ends the novel at the end of the story.Well, not quite. Heinlein almost ends the novel there. He tacks on a coda, ascene set decades later, one which at first reading seems quite unnecessary.We listen as an aged Smith reveals something shocking. It took me awhileto figure out why Heinlein included this scene. But when I did, chills randown my spine.The Great Lorenzo, Lawrence Smith, is an out-of-work actor. He is also aself-centered and vain young man. His character flaws are partially offset bythe fact that he really is as good an actor as he thinks he is. And he is deeplydevoted to his profession.Everything he knows about himself, other people, and society in general, isgrounded in his knowledge of the world of make-believe. He is a man withno life outside of the theater. He was brought up by his strict father in thecraft of acting, with greasepaint and applause as repeated reminders of whatwas truly important in life. This man knows nothing else.Suddenly, he finds his role, the role of a lifetime. Or shall we say, he findshis role thrust upon him. Because he resembles a kidnapped man, he ismade the centerpiece of a bold and benign conspiracy to impersonate one of the Solar System’s most beloved and famous politicians, the leader of theExpansionist Party, John Joseph Bonforte. Bonforte’s enemies guess what’sup and try to stop Broadbent from meeting with Smith by trying to kill them.This is why they are forced to kill the would-be killers.
 
In my second reading of this novel, I wondered why Heinlein chose an actor as his main protagonist. Why did he craft such odd Martians? Why did hisfuture Solar System civilization have Martians? And, why a 19
th
century-style constitutional monarchy? That sort of government seemed bafflinglyanachronistic for a society set centuries in the future. Finally, why didthings seemed so easy for the good guys? Generally, thrillers put protagonists into tight spots, from which only by dint of great physicalstrength, courage, and cleverness they barely manage to escape.The answers unfolded as I read.Broadbent and Smith escape more assassins by managing to get toBonforte’s spaceship where Smith is introduced to Bonforte’s intrepid political staff, including his personal secretary Penelope Russell, who knowshow to access any information Smith needs to do his job; therapist Dr.Capek, who hypnotizes Smith to rid him of intense dislike of Martian bodyodors; political secretary Rog Clifton, who understands Bonforte’s politicalmind better than anyone; and press secretary Bill Corpsman who is the oddman out. We are not at all surprised to learn later that he is leaking vitalinformation to Bonforte’s political enemies.At first, Smith is asked only to impersonate Bonforte at a Martian adoptionceremony. Bonforte has agreed to undertake the ceremony in the pursuit of  better human-Martian relations. Bonforte’s staff knows that if Bonfortedoesn’t appear as scheduled for any reason except death, there will be hell to pay from the Martians. Bonforte’s enemies knew this, too, as they plottedBonforte’s downfall. This is why they kidnapped him. There was no waythey were going to allow him to keep this all-important appointment.Smith memorizesthe incredibly detailed ceremony and carries it off inBonforte’s place without a hitch. No one is the wiser except for theconspirators on both sides. But then the plot thickens as the conspiracythreatens to unravel. Bonforte is found alive, but his mind has beendamaged by brainwashing drugs. Would Smith consider continuing theimpersonation? Of course he would.Heinlein has a way of capturing a character’s physical mannerisms preciselyin a way that lets the reader in on the character’s inner sense of self. Smith,as an actor, is a superb observer of physical mannerisms in others. Observe
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