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Grok
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It wasn't Heinlein's technical clarity. There were better technicians like Asimov who could explain the intricacies of life in a technically advanced society. It wasn't Heinlein's great creative vision. Bradbury could evoke soul stirring images of the Martians in the Martian Chronicles. Heinlein's strength was his characters. They were people who lived on the edge of correct. Notice how people come together in a Heinlein book. They are all specialized, compartmentalized, until they interact, and then we realize how wide these characters are, that they have depth and understanding. They've thought seriously about a wide array of subjects. There may be a physics expert in the room, but there's 3 or 4 others who can hold their own in the conversation, and at any moment the conversation can turn to what the cat is doing or why religion is useful. Heinlein loved to explore through the interactions and conversations of groups. Read the Number of the Beast and you see Heinlein introducing a computer into human conversation, and the humans accepting this new mode of discourse, and making Gay Deceiver their own. The characters also can transform at any time. So Lazarus Long can go back in time to become a soldier in WW I, while Gay Deceiver becomes Minerva in human form. Lazarus is the ultimate storyteller. The elder of the human race, and the new generations hang on his every word as if he's a precious gem, but his most powerful words are "therza pool yawl by the pawn shot". In Tunnel in the Sky, we again have a situation of the one character thrown suddenly into community and harsh realities have to be met through interactions. In Farnham's Freehold we have a group of people discussing whether they have been blasted into another dimension by a direct nuclear hit, or perhaps thrown into the future. Farnham's wife is cracking up, so Farnham does the only thing a man should do when he's in the far into the future in the middle of a wilderness. He takes the