Fictional depictions of Mercury, the innermost planet of the Solar System, have gone through three distinct phases. Before much was known about the planet, it received scant attention. Later, when it was incorrectly believed that it was tidally locked with the Sun creating a permanent dayside and nightside, stories mainly focused on the conditions of the two sides and the narrow region of permanent twilight between. Since that misconception was dispelled in the 1960s, the planet has again received less attention from fiction writers, and stories have largely concentrated on the harsh environmental conditions that come from the planet's proximity to the Sun. A planet closer to the Sun than Mercury was once hypothesized to exist based on then-unexplained anomalies in Mercury's orbit that have since been explained by the effects of general relativity. This hypothetical planet, Vulcan, has appeared in several stories.
Early depictions Mercury's closeness to the Sun makes astronomical observations difficult, and throughout most of history little was consequently known about the planet, which was reflected in fiction writing. It has appeared as a setting in fiction since at least the 1622 work L'Adone by Giambattista Marino, which also visits the Moon and Venus. The first novel focused specifically on Mercury was the 1750 novel Relation du Monde de Mercure (English title: The World of Mercury) by Chevalier de Béthune, which is unusual for the time in not using the fictional extraterrestrial society for purposes of satire or utopian fiction. In W. S. Lach-Szyrma's 1883 novel Aleriel, or A Voyage to Other Worlds, Mercurians are depicted as living in the planet's atmosphere. John Munro's 1897 novel A Trip to Venus portrays a brief visit to Mercury as well as Venus. The first English-language work of fiction set primarily on Mercury was William Wallace Cook's 1905 novel Adrift in the Unknown, or Adventures in a Queer Realm, a satire on United States capitalism. Homer Eon Flint's 1919 short story "The Lord of Death" depicts the ruins of a previous civilization now extinct on Mercury.
Tidal locking
From 1893 to the 1960s, it was believed that Mercury was 1:1 tidally locked with the Sun such that one side of Mercury was always in sunlight and the opposite side always in darkness, with a thin band of perpetual twilight in between; numerous works of fiction written in this period portray Mercury in this way. Examples include Ray Cummings' 1930 novel Tama of the Light Country where the inhabitants of Mercury live their lives under an unmoving Sun, Clark Ashton Smith's 1932 short story "The Immortals of Mercury" where there are two different hostile species on the planet, Isaac Asimov's 1942 short story "Runaround" (later included in the 1950 fix-up novel I, Robot) where a robot is sent to retrieve critical supplies from the inhospitable dayside and malfunctions, Hal Clement's 1953 novel Iceworld where aliens accustomed to much higher temperatures than those found on Earth set up camp on the hot dayside of Mercury, Asimov's 1956 short story "The Dying Night" where a character who has spent a long time on Mercury is used to there being areas in permanent darkness, Alan E. Nourse's 1956 short story "Brightside Crossing" which depicts an attempt to cross the illuminated side of the planet "because it's there" as a feat similar to the then-recent first successful ascent of Mount Everest in 1953, Poul Anderson's 1957 short story "Life Cycle" where there is a species that changes from female to male when it goes from the nightside to the dayside and vice versa, Kurt Vonnegut's 1959 novel The Sirens of Titan where there are lifeforms in caves on the nightside that live off of vibrations, and Eli Sagi's 1963 novel Harpatkotav Shel Captain Yuno Al Ha'kochav Ha'mistori (English title: The Adventures of Captain Yuno on the Mysterious Planet) where the inhabitants of the respective hemispheres are at war. Larry Niven's 1964 short story "The Coldest Place" depicts the nightside of Mercury and may be the last story of a tidally locked Mercury; between the time the story was written and when it was published, it was discovered that the planet is not tidally locked—it actually has a 3:2 spin–orbit resonance such that all sides regularly see daylight.
Modern depictions
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