Hidden amidst the perilous wilderness of Scotland; a landscape of icy, snow-covered mountains and dense forestry that is disconnected from civilisation, a high-concentration prison exists. Inside the concrete cube, one hundred teenage criminals are incarcerated, but few can remember committing their crimes. Nobody is coming to rescue them: not their parents, the police or the government. They call it nowhere. Jon Robinson’s speculative adventure novel begins with Alyn, Jes, Ryan and Elsa, four teenagers who are convinced that something is wrong and, through frantic attempts to escape, are intent on unearthing the truth. As this sinister and equally chilling debut evolves, a heavily political grandeur becomes evident, one reliant on trickery, mind-games and wealth. In Nowhere, a daunting portrayal of modern Britain is painted, where the nation has never appeared as strife or on the brink of dire failure.
Britain is falling. Government is disbanding through corruption and radicalism. There are riots on the streets and whispers of a revolution. Desperate to keep his country together, the Prime Minister meets with Mr Felix, Britain’s wealthiest man and the leader of a conspiracy group named the Pledge. Claiming that he is only one who can resolve Britain’s failure, the Prime Minister agrees to a somewhat unethical method as his last attempt to salvage hope and restore the nation. But little does he know that the Pledge will involve themselves regardless of his approval - and that their true goals are far cruder that he could imagine. Robinson’s Nowhere leans on mystery and intrigue to propel his dark portrayal of an alternative Britain; peppering the story with brutality, technological advancement and overarching anguish. The monolithic prison where the core story occurs is an enchanting location, encompassing the desperation and precarious psychology of the cast whilst echoing the biting aesthetics of Orwell’s Nineteen Eighty-Four. It is the unlikeliness of these circumstances that pierce the audience’s mind with questions: where exactly are these teenagers trapped? Why is nobody coming to rescue them? What abilities may they possess?
Robinson’s excessive commitment to the tight aesthetics causes the character development to suffer. Aside from a brief collection of memories from each of the four main characters, we are offered little in the form of personality or growth. Even description is bare and, although pushing the writing along at a fiery pace, it devoid readers of the depth that they often come to expect. The ambiguity of alliances is a redeeming factor, where the villainy is never black and white, and where it is difficult to distinguish between those who are heroes and enemies. In Nowhere, the teenage protagonists conflict with each other and with their own flaws, as much as they fight with the brutal prison guards. Despite that, each character has a distinct role and we come to collectively admire their fearless and bravery in battling their captors. Ryan is headstrong and courageous, Jes is the planner, Elsa has great passion and Alyn is simply a born survivor. The highlight, however, is Julian; the self-interested, sly inmate that we come to love and hate for his changing opinions, lean mind and his uncertain alliance. In the prison, the adults who incarcerate these young people are not portrayed as irredeemably evil, yet rather afraid and weak in considering the unethical nature of their task. A violent and suspicious teacher commands the guards of the prison, inflicting torturous lessons on those who do not obey and knocking the children temporarily unconscious if necessary. Having said that, it is particularly refreshing for the leader of the antagonism force, the ultimate enemy, to have a desire to solve something for the wider nation and not only for his own benefit.
In a country plagued by regeneration, dullness and conspiracy, Robinson ensures that a lack of hope and liberty pave the way for his dystopian speculation. Indeed, the work is reminiscent of Orwell’s London in Nineteen Eighty-Four, the terror of The Hunger Games and the bizarrely cinematic traits of The Maze Runner. The writing ensures that the audience is kept knee-deep in adventure, with short chapters and no delays to a story that whips along from one stage to the next. Mystery flows from this debut novel; intrigue surrounding the alternative Britain and mystifying the story consistently. There is a dark curiosity that blossoms through the shift between perspectives; as the teenagers, Prime Minister and ambiguous Mr Felix introduce their own circumstances. Robinson leaves his work open for interpretation and elaboration, honing his potentially extensive idea into a finite one that revolves around this concrete prison cube. Yet, most tantalising of all is the inclination that the prisoners may have a supernatural ability and how this could influence society. It is a thrilling alternative world nonetheless and one that will thrive upon a greater sense of context, defter characterisation and an understanding of where these abilities may lead.
Nowhere is a politically ingrained tale with great potential. The sinister alternative spectacle of Britain, a country powered through conspiracy and underground technologies, is beautifully dark and futuristically mystic. Robinson’s removal of certainty is where the piece excels: where black and white alliances cannot be seen and there is commitment to the ambiguity and curiosity. It is an imaginative dystopian action-adventure which prevails against the domineering weight of government authorities, promoting change, radicalism and liberty in a world that has forgotten what it is to be free. With mention of psychological powers, hints of subliminal messaging, propaganda and brainwashing, the author extends fear into our reality. If these invisible conspiracies exist in fiction, then surely there is the possibility that such entities govern our own socio-political functions? Nowhere degrades individualism and probes whether the liberty of our own society is, in fact, a sly facade. Are we, the people, mere puppets hanging on a string?