Thin Air – Richard Morgan,
Reviewed by Joe Gordon
Welcome to Mars, soak.
For the first time in several years, and the first time since the well-received Netflix adaptation of his debut Altered Carbon, Richard Morgan returns to science fiction and, I am glad to report, delivers everything a Morgan fan could want. Since that powerhouse debut years back Morgan has enjoyed – relished, in fact – bringing a Hammett or Chandler-esque Noir quality to his science fiction, and with Hakan Veil, a disgraced former gene-tweaked deadly enforced for a mega corporation, dumped on the Martian colony and making a living anyway he can, he continues that tradition, mixed rather interestingly with elements of the classic Western in this High Frontier colony, but also suffused with a burningly angry take on unchecked market forces and runaway corporate capitalism, the vast inequalities it creates, the needless, grinding poverty and anger, and those who exploit it, on all sides of the political spectrum, from the holier than thou supposed revolutionaries to the oily “man of the people” governor in his super-bling mansion (with more than a passing comparison to several contemporary politicians of our troubled times).
The details of the everyday life and troubles, from the disgruntled and often corrupt (some more so than others) cops and politicians in the vast colony city in the great trench of the Valles Marineris (crudely referred to by locals as “The Gash”) and gangs to the everyday colonists – many of whom, being several generations into Mars life, don’t see themselves as a colony any longer, they see themselves as Martians, and bridle at the oversight by Earth authorities (a fact played on by various political operators on Mars). And with an oversight committee coming into town from Earth, feelings are running high – some see it as an overdue accounting to hold the corrupt governor and local authorities to rights, others see it as outside influence in Martian affairs. And some suspect there is far more going on in the shadows than a simple audit and rooting out of corruption (shades of the current corruption crackdown in China), that there may be deeper, more sinister motivations behind the entire enterprise.
Freshly sprung from Bradbury police’s jail, police officer Nikki reluctantly hires Hakan, still “running hot” (his genetic tweaks include a hibernation cycle, from which he awakens sharp and ready for violence, a handy thing for his former employer who may have had him on ice on a ship sent out for months to intercept another ship and needed their people to come awake instantly and at full tilt), to be a minder to a junior member of the Earth oversight committee, Madekwe. She seems curiously compelled to investigate a minor missing persons case from several years before, out on the much rougher uplands (think the Wild West of Mars, complete with a Marshall service trying to maintain a rough law and order), and Hakan, while agreeing to take the job on, is left wondering what she is really looking for.
To discuss the plot any further would lead to spoilers, and besides, as with Raymond Chandler, the plot, which satisfyingly twists and loops around in conspiracies, political and economic intrigues and sheer bloody violence and double-crosses, is only part of the enjoyment here, much of the satisfaction also comes from the way Morgan tells the story. Like Chandler he has a gift for descriptive flair which manages to be both hard-boiled yet elegant and evocative. As with most of his previous works Morgan delivers some remarkable – and often very violent and bloody – action scenes, and yet this is no mere action-thriller, even the violence has a subtextual layer to it, from the political to the personal levels. And the view of life in the colony for the many is no mere adornment for background colour, there’s a feeling of authenticity, of a real community, of real people struggling to get by, and great empathy for the situation created by those at the top of the heap, over which the many have little control, despite the illusion of elections, and they all know it.
Despite the length this is a tight, fast-paced, high-octane read, with intelligent use of action mixed with some fine science fiction elements, adorned with colourful clothes from the Noir and Western genres for added atmosphere, unafraid to offer us main characters who are not heroic and commit questionable (or downright awful) acts, and yet beneath the powerful action segments, beneath the science fiction of a future Mars and genetically enhanced trained corporate killers, as with most of Morgan’s work it is about fallible, flawed people in a bad situation, trying to get through situations they didn’t ask for.