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Reviewed by Asher Syed for Readers' Favorite
In Adrian Cox’s The Vessel, Isaac Valdez is a laboratory technician aboard a generation ship whose High Stewards teach that every conclusion must remain open. His sister Aurora, confined by a terminal illness, directs his experiments from a room and believes their research may reveal how consciousness survives physical decline. Isaac follows her instructions until disappearances linked to “guidance” expose the cost of the ship’s faith. When an alien craft begins traveling beside the vessel, he joins humanity’s first contact team and discovers that its interior affects him in a way no one else experiences. At the same time, the Resolute, a faction that believes some questions have final answers, gains influence across the ship. Isaac must decide whether his faith can survive the knowledge he receives before the people he loves are claimed by either side.
In addition to the storyline itself, Adrian Cox’s The Vessel sweeps through an entire society, with vast, believable science and world-building that is completely fleshed out. The whole upstairs/downstairs angle is the most fascinating part of a ship’s social order. The upper-deck's meal leftovers are what the below-deck families eat in a windowless area housed beside the machinery. As the protagonist, Isaac is naturally who we root for, and Cox gives us great reasons to do so, but Isaac is only one piece of the whole character puzzle. The women shine as individuals in their own right: Rachel, for whom Isaac has harbored feelings for ages, and Aurora, who has an entire life beyond her illness. Cox includes journals containing knowledge that cannot be explained, and a trust that Aurora may understand the alien equations inside them. I loved both Solomon's An Unkindness of Ghosts and Gaztelu-Urrutia's brilliant screenplay The Platform, and rank The Vessel among the same caliber. Excellent work.