Whether readers loved or loathed a book, whether reading for pleasure or for criticism, there has been a repeated tendency to take the strongest character voice in a Heinlein novel as an authorial voice, as in Stranger in a Strange Land (1961), or in Time Enough for Love (1973); or to read a political system as either flawless and to be taken as a political rallying cry for libertarianism, as in The Moon is a Harsh Mistress (1966), or as a rallying cry for white supremacy, as in Farnham's Freehold (1964). Neither extreme is true.