Earth has a problem. But as Project Hail Mary begins, the protagonist and first-person narrator has no idea what the problem is. He knows a lot less than that, in fact. He doesn’t know where he is, doesn’t know how he got there, doesn’t even know his own name. Why is the room round? Why are there two dead and desiccated bodies strapped onto things like medical beds next to him? Why is he strapped down, for that matter?
Andy Weir has taken the opening to The Martian and amped it up by taking away any of the protagonist’s knowledge of where he is or what he is doing there, along with most of the skills he needs to do whatever he is supposed to be doing. Before long, the protagonist has to contend with a not-very-bright AI that controls his immediate environment, and the whole thing reads for a while like a novelization of an Infocom game, where only exactly the right verbal response will get the computer to do what one wants it to do. I guess the approach is supposed to increase dramatic tension, but I found it only aggravating. Memories return to the narrator in large chunks, and that is how Weir gradually reveals the backstory.
Earth’s problem is a neat one, from the perspective of a science fiction story, rather less so for anyone who happens to be living through it. Astronomers discover a funny line going from the sun’s north polar regions to Venus. Simultaneously, they discover that the sun’s luminosity is measurably dropping. The energy is going into the link. At the detected rate of decrease, earth’s ecosystems will be in grave danger in a matter of decades no matter what terrestrial actions are taken. The protagonist — who eventually remembers his name is Ryland Grace, Dr. Ryland Grace, former academic speculator about extraterrestrial metabolisms and current teacher of middle school chemistry — is pretty bummed to remember that.