I’ve been (sorta) binge-reading the first books in a number of far future, deep-space series. We’ve already discussed The Expanse and Pandora’s Star, so of the three initial books in this particular project, only Consider Phlebas remains to be discussed. For those of you unaware, this is the first book in the late Iain M. Banks’ Culture series.
This book is a little strange. Though I certainly enjoyed the whole more than I did Peter F. Hamilton’s long buildup, of the three modern Space Operas, it was the one I found least memorable… and I’m not entirely sure why.
It’s certainly a high-stakes, well-paced and well-written novel, with a sympathetic cast. Perfectly acceptable in other words, and the Culture itself is often hailed as a mature galactic civilization. At least one writer I respect a lot has told me that he adores these books.
So, yes, I enjoyed it, but it certainly didn’t stick in my mind. Without being exactly certain as to why, I’ll take a guess: I think it’s because the Culture itself doesn’t appeal to me as a galactic society.
Yes, I get it. Within a certain number of years, any society in the galaxy is going to lose its frontier vibe and establish social patterns that, if you ignore the scale, can be very similar to what happens on earth. Hence, a paternalistic socialism based on the logic of computer overseers is not farfetched. I can also see certain people–perhaps farmer mind types–being attracted to this.
I found it unattractive. I like my deep space SF to be wild and wooly, and my societies to be very much a grab bag of opportunists, depots and empire builders. If one of the belligerents is a more expansive version of Scandinavia, it might turn off the centers of my mind that are interested by things.
Maybe if they’d been painted as the bad guys, I might have taken more notice. A computer-controlled society of extreme conformists, mindlessly colonizing everything with their bland goodness (which reminds me of the San Angelinos in Demolition Man) would be a terrifying enemy.
But they aren’t, they’re painted as the choice of logic.
I’m willing to give this series a further chance on the sheer strength of the writing and the fact that the buildup was much less annoying than Hamilton’s. Keep an eye on this space for further installments.
Gustavo Bondoni’s space opera, Siege, has untidy, ragged good guys and a whole bunch of really bad entities as enemies. He promises that you won’t find it bland, and you can check it out here.