Way of a Rebel — Background and Themes
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The source record for Way of a Rebel — Background and Themes measures this digital text at 7,823 words, 35 min estimated reading time, and 1 detected text section.
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Read the Text
Darkness had fallen. He tuned his short wave set to the Miami station just in time to hear the eight o'clock news. The grim announcement that he had expected was quick to come:
"In accordance with the provisions of the Twenty-Sixth Amendment, Congress today approved the Manlin Bill, declaring a state of total emergency for the nation. President Williston signed it immediately and tendered his resignation to the Congress and the people. The executive, legislative, and judiciary are now in the hands of the Department of Defense. Secretary Garson has issued two decrees, one reminding all citizens that they are no longer free to shirk their duties to the nation, the other calling upon the leaders of the Eurasian Soviet to cease air attacks on the American continent or suffer the consequences.
"In Secretary Garson's ultimatum to the enemy, he stated: 'Heretofore we have refrained from employing certain weapons of warfare in the vain hope that you would recognize the futility of further aggression and desist from it. You have not done so. You have persisted in your blood-thirsty folly, despite this nation's efforts to reach an agreement for armistice. Therefore I am forced to command you, in the Name of Almighty God, to surrender immediately or be destroyed. I shall allow you one day in which to give evidence of submission. If such evidence is not forthcoming, I shall implement this directive by a total attack....'"
Mitch Laskell switched off the short wave set and muttered an oath. He squeezed his way up through the narrow conning tower and sat on the small deck, leaning back against the rocket-launcher and dangling his feet in the calm ocean. The night was windless and warm, with the summer stars eyeing the earth benignly. But despite the warmth, he felt clammy; his hands were shaking a little as he lit a cigarette.
The newscast--it came as no surprise. The world had known for weeks that the Manlin Bill would be passed, and that Garson would be given absolute powers to lead the nation through the war. And his ultimatum to the enemy was no surprise. Garson had long favored an all-out radiological attack, employing every nuclear weapon the country could muster. Heretofore both sides had limited themselves to non-rigged atomic explosives, and had refrained from using bacterial weapons. Garson wanted to take off the boxing-gloves in favor of steel gauntlets. And now it would happen--the all-out attack, the masterpiece of homicidal engineering, the final word in destruction.
Mitch, reclining in loneliness against the rocket-launcher, blew a thoughtful cloud of cigarette smoke toward the bright yellow eye of Arcturus, almost directly overhead, and wondered why the Constellation Booetes suddenly looked like a big club ready to fall on the earth, when it had always reminded him of a fly-swatter about to slap the Corona Borealis. He searched himself for horror, but found only a gloomy uneasiness. It was funny, he thought; five years ago men would have been outraged at the notion of an American absolutism, with one man ruling by decree. But now that it had happened, it was not to hard to accept. He wondered at it.
And he soon decided that almost any fact could be accepted calmly after it had already happened. Men would be just as calm after their cities had been reduced to rubble. The human capacity for calmness was almost unlimited, _ex post facto_, because the routine of daily living had to go on, despite the big business of governments whose leaders invoked the Deity in the cause of slaughter.
A voice, echoing up out of the conning tower, made him jump. The command set was barking his call letters.
"Unit Sugar William Niner Zero, Mother wants you. I say again: Mother wants you. Acknowledge please. Over."
The message meant: _return to base immediately_. And it implied an urgency in the use of the code-word Mother. He frowned and started up, then fell back with a low grunt.
All of his resentment against the world's political jackasses suddenly boiled up inside him as a _personal_ resentment. There was something about the metallic rasp of the radio's voice that sparked him to sudden rebelliousness.
"Unit Sugar William Niner Zero, Mother wants you, Mother wants you. Acknowledge immediately. Over."
He had a good idea what it was all about. All subs were probably being called in for rearmament with cobalt-rigged atomic warheads for their guided missiles. The submarine force would probably be used to implement Garson's ultimatum. They would deliver radiological death to Eurasian coastal cities, and cause the Soviets to retaliate.
_Why must I participate in the wrecking of mechanical civilization?_ he thought grimly.
Lieutenant Mitch Laskell surfaces his one-man submarine off Florida and tunes in to hear that the Manlin Bill has passed, placing the U.S. under military rule. The news is delivered via a radio broadcast that quotes Secretary Garson's ultimatum to the enemy—a speech invoking God and threatening total attack. Laskell's muttered oath and shaking hands as he lights a cigarette immediately signal his unease. The story wastes no time establishing a world where constitutional government has been suspended and a commander with absolute power is about to unleash radiological warfare.
Miller uses the cramped sub and the crackling shortwave to create a sense of isolation and urgency. Laskell's thoughts drift to the nature of war and industry, but action soon interrupts: sonar pings, radar blips, and the discovery of enemy submarines heading toward Washington. The opening thus sets up a classic dilemma—duty versus personal judgment—within a tightly wound, technology-driven plot.
The Rebel's Heart and the Radio Voice
The story's title and opening line—"No one knows the heart of a rebel until his own search for the reason of right or wrong is made"—frame Laskell's internal conflict. Yet the excerpts show that his rebellion is not against the enemy but against his own command. When he reports the enemy subs, his base orders him to return immediately, not to proceed toward Washington. The radio becomes a source of frustration: he shouts into the mic, repeats his message four times, and finally keys the carrier wave in anger. The base's voice fades, and the communication is ambiguous—"ordered not to proceed toward Washington" could be a misheard command or a deliberate restriction. Miller leaves the reader uncertain whether Laskell is being disobedient or simply misunderstood, a tension that drives the narrative.
Technology as Both Tool and Trap
Laskell's submarine is packed with gear: sonar, radar, a computer that "supervise several tasks at once," torpedoes, and a rocket launcher. He uses these to detect the enemy, but the technology also isolates him. The computer's buzzer and the radar's quivering antenna are his only links to the outside. When he tries to radio for help, the equipment fails to convey his urgency—the base hears only a faint voice and asks if he is in distress. Miller emphasizes the limits of machines: the sub can track blips and engine noise, but it cannot transmit the moral weight of Laskell's decision. The setting—a one-man vessel deep beneath the Atlantic—becomes a metaphor for the solitary nature of his choice.
War Without Gloves: The Radiological Threat
The excerpts reveal a war that has escalated beyond conventional limits. Garson's ultimatum threatens "total attack" with nuclear weapons, and Laskell reflects on the difference between killing soldiers and wrecking industry: "Kill a few men, and you scratch the hide of Historical Man. But wreck the industry... you amputate the hands of Historical Man the Builder." This passage, though brief, shows Miller engaging with the Cold War anxiety of the 1950s—the fear that all-out atomic war would destroy civilization's infrastructure. Laskell's rebellion is partly rooted in this insight: he questions whether following orders would serve the nation or merely enable a destructive strategy. The story thus uses its sci-fi trappings to explore a real-world ethical debate.
The Unfinished Decision: What the Excerpts Leave Open
The provided text cuts off before Laskell acts on his discovery. We see him readying torpedoes and climbing into the conning tower, but we do not learn whether he disobeys the order to return, engages the enemy, or something else. The title and opening suggest that his "answer" comes "deep beneath a turbulent Atlantic," but the excerpts do not reveal that answer. Readers must infer from the setup: a man who mutters oaths, shakes, and questions the logic of total war is unlikely to blindly obey. Yet the story could also subvert expectations—perhaps his rebellion takes a different form. The gaps in the excerpts invite speculation while grounding the narrative in concrete details of sonar, radar, and radio static.
Miller's story rewards attention to small details: the way Laskell "squeezed his way up through the narrow conning tower," the specific coordinates he reports, and the fading voice on the radio. These elements build a world that feels both technologically advanced and claustrophobically limited. As you read, note how the author balances action with interior monologue—Laskell's thoughts on industry and history are as important as the torpedoes. The ending, though not seen here, likely hinges on a single choice made in isolation. Watch for how that choice echoes the opening line about knowing a rebel's heart.
I still think about Laskell in his tiny submarine, that awful quiet between the order and the choice. There's a particular loneliness in that. I found a similar echo of it in The Dark Goddess — Background and Themes, where duty and doubt also share a cramped, suffocating space. It just felt familiar, like a old letter you stumble upon and read once more.
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