There’s long been an overlap between crime fiction and science fiction. And much as the two genres can themselves contain multitudes, so too can those works that situate themselves in their overlap. The corporate espionage of Nicola Griffith’s Ammonite is worlds apart from Isaac Asimov’s R. Daneel Olivaw novels, and the climate fiction noir of Paolo Bacigalupi’s The Water Knife takes a very different tone than the surreal dystopia at the heart of Ricardo Piglia’s The Artificial City.
It’s not hard to see why these two genres have converged so neatly, though. Many writers use crime fiction to reveal hidden elements of society or expose the abuses of those in power—both concepts that play a not insubstantial role in plenty of science fiction as well. And that sense of powerful people concealing crucial secrets from the general public is very much on display in Chris McKinney’s Midnight, Water City—a novel which makes the most of its slow-burning narrative of detection.