Loud Achievements: Lois McMaster Bujold's Science... -
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Published on: 11/20/2002
Last Visited: 9/10/2004
Miles' suddenly defunct bodyguard evidently had a long pre-history, and Miles himself was an incipient case of schizophrenia as well as chronic hyperactivity.At the close of Apprentice his alternate persona as "Admiral Naismith" was in the closet while he finagled his way into the academy, but I had no doubt Naismith would escape to cause more mayhem very soon.
Narrative impulsion is actually a constant in Bujold's work, as is her easy, almost transparent style with its occasional unexpected striking turn of phrase - "Death had a temperature and it was damned cold" (Komarr 27) - or its wickedly reshaped allusions: " The cream pie of justice flies one way" (Vor 336).
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Much later, readers must follow Miles into a hospital where his battle casualties are revived from frozen sleep - or not (Mirror 29-37).
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Among women's interventions in the SF tradition of action/suspense and technical focus, let alone the gung-ho realms of military SF, Bothari's characterisation is a tour de force that almost overshadows Bujold's long-term development of her central protagonist, Miles Vorkosigan.
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Miles bestrides the Vorkosigan universe, a figure whose panache conquers readers as fast as fellow characters, and who has bent the shape of the military sub-genre along with most of the rules of SF: even as he re-writes the manual for military heroes, Miles slews Bujold's books irrevocably toward the primacy of character.Beyond that, his long-term development is a phenomenon in either mainstream or genre fiction.
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It is quite easy to see Miles as the focus of Bujold's thematic concerns as a writer, and to propose that those concerns centre on the question of identity.
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Against such theoretical background, concern with Miles' self-discovery and personality integration can appear slightly dubious; nevertheless, the extended study of such a process in fiction, rather than theory, and what it does to SF and the SF hero, make Miles a rara avis well worth following.
Against Miles' trajectory, Bujold's Vorkosigan oeuvre splits easily into two phases, the earlier and later books.Early books are epitomized by The Warrior's Apprentice: unabashed space opera, clearly military space opera, with unwonted variations that I have already discussed.Even in Apprentice, Bujold's shreddies don't just shred.The death of the pilot officer, tortured for information to allow Miles' first ship capture, is a particularly excruciating case (127-30).Repeatedly, these shards of untoward reality, so to speak, puncture the light-hearted adventure envelope, just as Miles' character repeatedly contradicts what we expect of the classic young male SF protagonist.
In these books Miles appears what Joan Baez once called Bob Dylan: a "genius brat," a manic loose cannon who triumphs where superiors and enemies fail, an outlaw, a white Coyote prevailing not by gun or fist but wits.
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But hardly anything in Jim Villani's description of SF women writers' anti-heroes fits Miles.He is "highly intelligent" but not "rendered impotent by ... nature and/or culture" (26).If "not brave in the accepted masculine sense" he is anything but "indecisive," though often "lonely" he is not solitary, and he is above all a "charismatic leader" who does inspire "blind faith" everywhere (27).And unlike Frankenstein or Le Guin's Shevek, his sexuality is definitely not "emasculated" (27-28).
In this subversion of the SF heroic model, the comedy is critical, and although some is drawn by the cultures and other characters, much centres on Miles.Most notably, Bujold makes Miles both comic and able to laugh at himself.
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After slipping in and out of Naismith's persona in Apprentice, in Brothers in Arms (1989) Miles infuriates Barrayaran authority along with their mortal Cetagandan enemies, by making first one, then the other persona his alias.In The Vor Game (1990) the same double-bluff runs throughout.In Cetaganda (1996) he is limited to Lord Vorkosigan; in Brothers in Arms, Bujold ups the stakes by giving Miles a physical double, a clone, whom he acknowledges, in a maternally inherited tradition from Beta Colony, as his true brother.But as the series continues the strains of the psychic double become more and more evident.Miles invented Naismith, says Cordelia, because Barrayar gave him
'so much unbearable stress, so much pain, he created an entire other personality to escape into.He then persuaded several thousand galactic mercenaries to support his psychosis, and ... conned the Barrayaran Imperium into paying for it all' (Mirror 216)
Although his "safety valve" (217) works, Miles needs "the little Admiral" to survive.
As Naismith, Miles is rambunctious, riotous, gung-ho to the point of lunacy.
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It takes a lighter hand to show Miles moved to respond by an ambition for "mountain-climbing" ("Labyrinth" 166), without outrage to the sensibilities of a card-carrying feminist like me. On the other hand, it is a charming renovation of so much heavy-handed SF sex, that when a true siren casts her eye on Miles, he is rescued by a frantic allergy to her perfume - in effect, by a strategic sneeze ( Vor, 227).Nevertheless, despite Naismith's heterosexual enterprise, and although Miles' father is quite comfortably credited with bisexuality, as Vorkosigan or Naismith Miles' nearest approach to alternate sexualities is a flirtation with a Beta Colony hermaphrodite.And in the Bujold universe, alternate female sexuality does not appear to exist.But as Lord Vorkosigan, in the early books Miles has no sexual adventures.Indeed, he limits his love interest to vain attempts at making one of his spectacular women into Lady Vorkosigan, a role that they concertedly refuse.
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By that stage, Miles is also in danger of ossifying as an enfant terrible, caught outside the Barrayaran command structure and condemned to rebellious insubordinacy, a brilliant but wacky freelance, a divided personality.A striking divergence, to be sure, from the military SF prototypes and the SF hero or anti-hero, but ultimately, just one more of those adolescent conquerors, from the protagonist of The Last Starfighter (1984) back to the Heinlein juveniles, whose entrapment in the light-hearted world of genre SF and space opera will make sure he never grows up.
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Originally trained to impersonate Miles and physically warped to match his physique, he was intended as a pawn in the overthrow of the Barrayaran emperor.In Mirror Dance he gets Miles killed attempting to match his brother's military prowess in a raid on the clone-factories of his birthplace, Jackson's Whole.With Miles sidelined and literally mislaid for half the novel, Mark is forced to make his own integrations - and dis-integration - firstly with Miles' parents, then into the Vorkosigan family and Barrayaran society, and then, when he returns to Jackson's Whole to find Miles, as his personality fragments under the tortures of a mutual enemy.The novel closes after some normal fast and twisty action with Miles recovered - in both senses - and Mark's personality reconciled, its dark aspects accepted along with his abnormal physique, and his own interests laid down within his individual niche on Barrayar.
Mirror Dance is then a double reach for psychic equilibrium, for Miles with his physical double, for Mark with the unstable, as yet undefined and often dark limits of his own subjectivity.If it leaves Mark as a close approximation of the monolithic humanist subject, Miles takes away more dangerous mementos than a fresh collection of scars and another beautiful but transient lover.His resurrection also leaves him with chronic, sudden, unpredictable convulsions, that threaten not only his persona as Admiral Naismith but his entire military career.
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For Miles as Naismith or Vorkosigan, the worst thing that could ever happen is to be expelled from the Barrayaran military and his niche in ImpSec, the elite if invisible crème of Barrayaran security.It is not unusual for military SF heroes to be disgraced, or expelled from service, even to have the expulsion carried over a couple of books, as with David Weber's Honor Harrington.But in these cases, the disgrace is always falsely based.In Memory it is not only real but permanent: Miles is found out fudging a report to cover the effects of a convulsion during action, and after an excruciating scene with the head of ImpSec, also an old family friend and mentor, he is pitched literally and metaphorically into the street.The spy-novel plot that carries Memory exhibits Bujold's usual narrative drive and ingenuity; but in Miles' ongoing story it is only a springboard for this metaphorical death of his career, and more crucially, of his Naismith persona.Naismith can only function in the mercenary fleet, and the mercenary fleet freelances for ImpSec.But to take the fleet and become Naismith permanently would be to commit treason, and thus kill, perhaps in the most literal sense, Lord Vorkosigan.