in this post, I will use complit to explore the bodyswap theme in Nona the ninth. in january i read isle mcelroy's people collide, a pretty good litfic novel with a great premise: a husband and wife experience an unexplained body swap and have to adjust to possibly permanent life in a body that is both wrong and right for them in unexpected ways. mcelroy's very thinky treatment of this idea really crystallized and brought forward some ideas I had about palamedes, camilla, and paul on my most recent ntn reread. mcelroy's novel focuses mainly on the husband now living in the wife's body, who discovers shortly after waking up that way that his wife, in his body, has disappeared. when he finds her again she is preternaturally confident and self-satisfied, while he has struggled with his self-image and self-conception, but also found things to love about being in her body. in their scenes together upon reunion, especially the sex scenes, there is some really delicious focus on whose body is whose. this is partly done through clever wordplay and partly through narrator commentary. this is what really made me start thinking about palamedes and camilla.
nona, expert of the body, is constantly Noticing who is in camilla's body at any one time. if she doesn't know, it is assumed to be camilla until proven otherwise. even in scenes like palamedes' conversation with the angel (in the classroom, day 4), where we can tell its palamedes before nona explicitly says so, nona's narration is very specific about when the switch happens.
Camilla took her dark glasses off and folded them up neatly, to put in her breast pocket. Then she said quietly -- "May I ask a question?"
Nona glanced up at Camilla's face, just to confirm it.
"Go ahead," said the Angel, smiling without her eyes having anything to say about it.
"Back on Lemuria, or anywhere else," said Palamedes...
this switch is notable to me for two reasons. first, as mentioned above, Nona is careful to refer to the person as Camilla, even though it is clear to us in hindsight that the switch must've happened at the very least before the coordinated trip intended to read the Angel's body with necromancy. second, camilla's body is still camilla's body, even with palamedes inside. this is even clearer later in the scene, with the line "Palamedes stepped Camilla's body forward." in the passage above, nona is looking at camilla's face, but not at camilla. to me, this kind of word trick is one of muir's most impressive and subtle talents.
practically every time nona witnesses a palamedes/camilla switch, she notices little details like the above. it underlines the theme of body ownership again and again. it is camilla's body, palamedes can only pilot it temporarily. to nona, it is never his, even for a moment. i think that this is part of what it so absolutely world-shakingly terrifying for nona about paul, and why paul's emergence foretells nona's understanding of the "middle thought." nona doesn't know basically anything about necrocav dynamics, and as an outside observer, she doesn't understand the way palamedes had rights to camilla's body (even if he rarely exercised them) even before inhabiting it. so when she witnesses paul, she is watching what we can understand as a logical endstate of their lifelong relationship, but what she can only understand as a complete and final subsuming of a body that was always only camilla's. nona has been told for the entire book up to this point that the body she's in does not belong to her, and paul forces her to finally face the reality that she might genuinely lose rights to it.
to bring these thoughts together, both muir and mcelroy are building on the idea of bodily autonomy and ownership. they both futz with who lives in a body in order to create strange, heightened, circumstances. and they both highlight those moments with clever wordplay around who is acting in who's body at a given moment. with mcelroy, we are inside the bodyswap, and it is a very intimate experience centered almost entirely on the two characters. with muir, nona's view of camilla and palamedes is our primary focus for this theme. it might be easy to forget that pyrrha, judith, ianthe, kiriona, and nona herself are all also in similar body-ownership plots, because they receive even less focus. its certainly one of the main themes of this book, as well as the series as a whole. it feels obvious, but the complexity and depth of the execution is underdiscussed.
