Robert Heinlein’s 1959 science fiction novel Starship Troopers won the Hugo Award for best science fiction novel, but nonetheless elicits controversy and it is easy to see why. On some levels there is very little to this slim book–few rounded characters, almost no plot—and can be seen as a jingoistic pro-military piece of ideologically-infused drivel. On another, there are sentiments about the world and how bootcamp changes a person.
Juan (Johnnie) Rico comes from a wealthy family and his father has determined his life: Harvard business school and then join his company. They don’t get to vote, of course, because that can only happen through military service, but they have money and that is what matters. Then, right after high school, Juan joins the military while trying to show off for a girl. She has the aptitude and intelligence to be a pilot and another friend has the chops to be an engineer. Johnnie is only cut out for the Mobile Infantry—-a grunt in a highly-advanced suit who drops from space sows destruction.
Most of the novel follows Juan’s travails through first bootcamp and early missions, and then officer training school. The narrative unfolds from his point of view, and between grueling exercises the characters touch upon issues of punishment, discipline, responsibility, and violence, but is not uniformly positive or negative on any one position except perhaps on the necessity of citizenship being a right that needs to be earned. It represents issues as genuine problems and for war as an opportunity to make people into the best versions of themselves. And yet Juan is a shining example of this phenomenon, many other characters standing in stark contrast.
I don’t have too many specific observations about this book, in part because I finished it more than a week ago, but while I did appreciate reading it, it did not live up to some of the more well-rounded science fiction I have recently read. Starship Troopers just came across as flatter and more like a philosophical dialogue than a story. However, I cannot help but wonder if some of the controversy about the militarism Heinlein infused in the story comes not from the context of its initial publication, but from the experience of Vietnam in the next decade. In particular, one of the plot hooks later in the story comes from a sudden, forced mobilization of the human race to fight off aliens and how Juan’s father comes to be proud of his son rather than becoming resentful.
I fell a bit behind on reviews, so I’ll soon be posting discussions of Naguib Mahfouz’s Autumn Quail, a story about the downward spiral of a fired politician told through three relationships, and Peter Frankopan’s The Silk Roads, a new global history that was quite good. This afternoon I started reading Patrick O’Brian’s Treason’s Harbor, the ninth Aubrey-Maturin novel.