Overall? Luke Hindmarsh proves himself a very good writer.
First, I like his choice of words that sent me scrambling to the dictionary, i.e., apotheosis and polymath. I love that in a writer. That author isn't writing down to readers, rather encouraging us to stretch our vocabulary.
In Hindmarsh’s case, being an English author, some spellings are British, some words British slang, i.e., fug. These sent me to ole Webster.
Second, Hindmarsh engineers some very interesting phrasing. How he creatively uses words to express a concept/idea…most of us wouldn’t think of.
Examples:
Stars and planets WHEELED past him …
The two Minds … now ALLOYED…
And then there are his descriptions. Absolutely YUK! on Plenum living and a lifestyle I only hope never materializes. His ability to put my senses into his scenes is enough!
Example:
Each rain drop … a nauseating tickle … a filthy cocktail of breath, sweat and pollution. His … breath drew in bitter air that left a greasy film on his tongue and filled his mouth with the tang of bile.
Show don’t Tell is the modern writers mantra. Readers with little time for reading are enthralled by on-the-spot technology. Show don’t Tell provides their fast paced story.
Mercury’s Son swims upstream of this cadence — but works very well. Hindmarsh's Show isn’t in dialogue/action, but in his narrative, a style most writers today avoid. He handles it well.
Chapters 1 — 3 left me puzzled by strange names, undefined terms and a slow lead into the plot. BUT, don’t let this dissuade you from reading Mercury’s Son. By chapter 4, I found my flow into the story’s rhythm and pace. After chapter 4, the story clicks, the plot thickens. With a second murder Hindmarsh is grabbing my attention, my curiosity peaks.
Set in a futuristic world where civilization has destroyed itself, the remnant living under Enclosures governed through the UN World Government; Martyr’s living outside Enclosures to bring agriculture back to a “dead earth.” Eventually, the martyr dies from radiation poisoning or nano-destroyers. Yep, nano's — in 2017, a developing technology.
Then there is the distant colony on the Moon whose scientists may or may not have instigated the catastrophic war that devastated Earth.
Within the Enclosure, society divides itself. There are chosen middle-zone breeders, upper-zone drudges and the wei-zhuce who “… prey off those who keep them safe” and are executed and recycled when discovered. And as always, the Elite who still live above any law, or speaking of the Plenum, Hindmarsh writes, “… the upper level. An attraction that led … to a spiral of excess until the former elite found themselves floating to the top of the Plenum like scum rising to the surface of dirty water.” Like I said, interesting phrasing.
Government rests in the jurisdiction of the Centra Autorita, Justeco Centro… and “fabricated charges were a kensakan [investigator’s] speciality.” “Criminal justice was not a high priority …”
And then there is the Temple, who appear to operate outside either jurisdiction, but are the indoctrination center. Hindmarsh tells us, “... people … accept the tenets of the Temple because it was pumped at them from every angle and indoctrination.” Their main teaching is that, “… humanity is a macro-virus… We destroy ourselves.”
Temple tentacles reach into the transpod stations with such messages as, “You, human — you are the problem. A miserable, short life is your just reward for your species treatment of this planet.”
Much like 1984, citizens in Hindmarsh’s world are restricted: “… told where to live, where to work, when to sleep, when to eat and how much to drink.”
Technology has peaked. Synthorganics is common. Human implants give feared Moderator’s insight into citizens’ minds and the ability to ‘read’ a mind after death.
UNWG retrogene former veterans as today’s soldier’s who are considered lucky if they don’t go “kill-crazy” from their “overload of flashbacks.”
The Naukara is more machine than human, a fate worse than death.
Everywhere, citizens plug headset-hub’s fitting the “grey metal band round [their] foreheads” and eyes pasted on datapads. And as Hindmarsh’s main character, Valko looks around the pod, he notices that, “Everyone was as good as blind … their eyes see but their attention was … shutting the world out with the screen of a datapad or … direct connection of a headset-hub.” Think subway and i-Everything.
Some great twists I never saw coming. Hindmarsh’s clues are so intellectual so subtle, that I missed them and I’m good at figuring out plots.
I hadn't thought too much about the title, Mercury’s Son. Where did that come from? And why Mercury? Readers must pay attention to the subtleties this author uses in his work that require us to participate in his story to fully understand Mercury’s Son.
Read shallow or read deep. Either way, Mercury's Son is worth your time and money.
I can see a Trilogy here — at least, a sequel. Hindmarsh leaves readers with questions allowing for the possibility of another book.
Kudos to Hindmarsh on his first published novel and I hope to see more forthcoming.