
One minute, down and out actor Lorenzo Smythe was — as usual — in a bar, drinking away his troubles as he watched his career go down the tubes. Then a space pilot bought him a drink, and the next thing Smythe knew, he was shanghaied to Mars. Suddenly he found himself agreeing to the most difficult role of his career: impersonating an important politician who had been kidnapped. Peace with the Martians was at stake — failure to pull off the act could result in interplanetary war. And Smythe's own life was on the line — for if he wasn't assassinated, there was always the possibility that he might be trapped in his new role forever!
I hope you are encouraged by all the great reasons listed in the rest of the comments. I for one live to read!
Edited to add: I realize post-juvenile Heinlein is not to everyone’s taste — and I’m personally convinced Double Star may be his finest single book — but if one is interested — Stranger, Glory Road, Starship Troopers, Moon is a Harsh Mistress, are all worthwhile — and different from each other.
I’m not gonna defend Farnham’s Freehold, but each of the other later Heinlein works not listed above has some merit, though mostly for real fans only.
Book was written, I believe, in the early '50s.
Yeah, I'd say characterisation is a weakness of his. I've read Stranger in a Strange Land, The Moon is a Harsh Mistress, Starship Troopers, and Double Star. Heinlein does explore characters more than, say, Clark, but he doesn't go much for internal change or emotional growth. His male characters typically fall into one of two cartoonish camps: either supremely confident, talented, intelligent and independent (e.g. Jubal, Bernardo, Mannie, Bonforte...) or vaguely pathetic and stupid (e.g. moon men). His female characters are submissive, clumsily sexualised objects who contribute very little to the plot. There are a few partial exceptions - e.g. Lorenzo in Double Star and female pilots in Starship Troopers - but the general atmosphere is one of teenage boy wish fulfilment.