One notable characteristic of serious Science Fiction readers (as opposed to viewers), is a sense of being slighted by the Mainstream Literature’s refusal to acknowledge that our favorite genre often exceeds it’s boundaries and contain works of great imagination and artistry. Science Fiction even has it’s own special term for that surprising combination of illumination and confusion one experiences on completion of a truly great novel: we call it ‘sense of wonder’. For me, the sense of wonder is then often strengthened by a sense of affirmation, making me want to shout out ‘See! Isn’t SF just great?’
And so, having just completed Iain M. Banks’ Excession, it is time for me to get up on the pulpit and shout it out again: “See! Isn't SF just great!”.
The having-just-read-a-great-novel feeling can be likened to having your consciousness extended, but with your system not yet recalibrated to use the new extensions, as if you have some new knowledge but lack the understanding of that knowledge for now. I am really looking forward to the next few weeks when that understanding will hopefully reveal itself. It is at times like this that I think the ideal job would be staff at an Eng. Lit. department researching SF. It would be satisfying to spend some quality time digging into this work.
My immediate reaction? Banks’ use of language and skill with style and voice is masterful. And above all: supremely witty. The dialog between the Minds was some of the best writing I’ve ever encountered. The plot seems slow but has an inevitability that turns it into high drama.
But most of all, Excession made me ponder the Culture, and it’s implications. One of the reasons why SF is so great, for me, is that it illuminates society and history. To some extend a social historian can use SF as a locus from where different aspects of study can be incorporated and tied together, with the added benefit that art can offer an understanding beyond reason.
Banks’ Culture novels form an excellent prism through which to focus back on their times – the 90;s Clinton/New Labour era. Thinking back to the period, I remember being filled with a possible certainty things have improved and will continue to improve, a feeling that was common among young progressives. Technology and Dance was about to liberate us all (yeah!). To some extent we in the West came to think ourselves as close to a post-scarcity, hedonistic, benevolent, sophisticated and good society as possible, given you know the usual post-modern caveat that there really is no ‘good’ as such …
And I can’t help being embarrassed in retrospect by the moral dilemmas we had to face at the time. This passage, shortly after the start of the war with the Affront, reminds me of a discussion in the cafeteria as the Bosnian War enfolded:
The girl was indignant with a kind of ferocity probably only somebody from the Peace faction could muster in such a situation. “But we’re the Peace faction,’ she protested for the fifth or sixth time. ‘We’re … we’re like the true Culture, the way it used to be …’ …
‘But everybody knows we won’t have anything to do with war. It’s just so unfair!’ She flicked her short black hair and stared into the drug bowl she held. It was fuming too. ‘Fucking war!’ She sounded close to tears. (p.291)
Brilliant! Encapsulates some of the wistfulness of that decade of optimism, and more the pity that the decade following it turned out to be such an Affront.