Author | Iain M. Banks |
---|---|
Audio read by | Peter Kenny |
Cover artist | Mark Salwowski |
Language | English |
Series | The Culture |
Genre | Science fiction |
Publisher | Orbit Books |
Publication date | 1996 |
Publication place | Scotland |
Media type | Print (Hardback & Paperback) |
Pages | 451 |
Awards | Best Novel (1996) BSFA |
ISBN | 1-85723-394-8 |
OCLC | 35379578 |
Preceded by | The State of the Art |
Followed by | Inversions |
Excession is a 1996 science fiction novel by Scottish writer Iain M. Banks. It is the fifth in the Culture series, a series of ten science fiction novels which feature a utopian interstellar society called the Culture. It concerns the response of the Culture and other interstellar societies to an unprecedented alien artifact, the Excession of the title.
The book is largely about the response of the Culture's Minds (benevolent AIs with enormous intellectual and physical capabilities and distinctive personalities) to the Excession itself and the way in which another society, the Affront, whose systematic brutality horrifies the Culture, tries to use the Excession to increase its power. As in Banks' other Culture novels the main themes are the moral dilemmas that confront a hyperpower and how biological characters find ways to give their lives meaning in a post-scarcity society that is presided over by benign super-intelligent machines.[ citation needed ] The book features a large collection of Culture ship names, some of which give subtle clues about the roles these ships' Minds play in the story. In terms of style, the book is also notable for the way in which many important conversations between Minds resemble email messages complete with headers.
The Excession of the title is a perfect black-body sphere that appears mysteriously on the edge of Culture space, appearing to be older than the Universe itself and that resists the attempts of the Culture and technologically equivalent societies (notably the Zetetic Elench) to probe it. The Interesting Times Gang (ITG), an informal group of Minds loosely connected with Special Circumstances, try to manage the Culture's response to the Excession. The Affront, a rapidly expanding race which practises systematic sadism towards subject species and its own females and junior males, also try to exploit the Excession by infiltrating a store of mothballed Culture warships and using them to claim control of the mysterious object.
The Sleeper Service, an Eccentric General Systems Vehicle (GSV) who had nominally left the Culture, is instructed to head to the location of the Excession by the ITG. As a condition the Sleeper Service demands that Genar-Hofoen, a human member of Contact, attend it to seek a resolution with his ex-lover, Dajeil, who lives in solitude on the GSV. They had had an intense love-affair and, after a series of sex changes, had each become impregnated by the other until Genar-Hofoen was unfaithful and Dajeil attacked Genar-Hofoen, killing the unborn child. Dajeil then suspended her pregnancy and withdrew from society for 40 years and the Sleeper Service hopes to effect a reconciliation between them.
As the stolen Affront fleet approaches the Excession, the Sleeper Service deploys a fleet of 80,000 remote controlled warships, in a misguided attempt to neutralize the threat. It transpires that the Affront have been manipulated into their grab for power by members of the ITG who thought it was morally imperative to curb the Affront's cruelty by any means, and intend to use the Affront's theft of Culture warships as an excuse for war. The Excession releases a wave of destructive energy towards the Sleeper Service. In desperation, the Sleeper Service transmits a complete copy of its personality, its "Mindstate", into the Excession, which has the effect of halting the attack. The Excession then vanishes as mysteriously as it appeared and the brief war with the Affront is halted.
During these events, and after speaking with Genar-Hofoen, Dajeil decides to complete her pregnancy and remain on the Sleeper Service, which sets course for a satellite galaxy. Genar-Hofoen returns to the Affront, having been rewarded by being physically transformed into a member of the Affront species (whose company he finds more stimulating than that of the Culture's people).
The book's epilogue reveals that the Excession is a sentient entity that was acting as a bridge for a procession of beings that travel between universes. It also assesses whether the species and societies it encounters are suitable to be enlightened about some unknown further existence beyond the universe; as a result of events in the story the Excession concludes that the civilisations it has encountered in this universe are not yet ready. It also takes the name given to it by the Culture – The Excession – as its own – in an oblique reference to the aforementioned Affront species, who had been named by another species in an attempt to label them as a lost cause of hyper-sadistic freaks.
This novel is about how the Culture deals with an Outside Context Problem (OCP). This is a problem that is "outside the context" as it is generally not considered until it occurs, and the capacity to actually conceive of or consider the OCP in the first place may not be possible or very limited (i.e., the majority of the group's population may not have the knowledge or ability to realize that the OCP can arise, or assume it is extremely unlikely). An example of OCP is an event in which a civilization does not consider the possibility that a much more technologically advanced society can exist, and then encounters one.[ citation needed ]
The term is coined by Banks for the purpose of this novel, and described as follows:
An Outside Context Problem was the sort of thing most civilizations encountered just once, and which they tended to encounter rather in the same way a sentence encountered a full stop. The usual example given to illustrate an Outside Context Problem was imagining you were a tribe on a largish, fertile island; you'd tamed the land, invented the wheel or writing or whatever, the neighbors were cooperative or enslaved but at any rate peaceful and you were busy raising temples to yourself with all the excess productive capacity you had, you were in a position of near-absolute power and control which your hallowed ancestors could hardly have dreamed of and the whole situation was just running along nicely like a canoe on wet grass... when suddenly this bristling lump of iron appears sailless and trailing steam in the bay and these guys carrying long funny-looking sticks come ashore and announce you've just been discovered, you're all subjects of the Emperor now, he's keen on presents called tax and these bright-eyed holy men would like a word with your priests.
Banks has noted that he spent much time playing the Civilization computer game (appearing to refer to the first version of the game series) before writing the book and that it was one of the inspirations for the concept of the 'Outside Context Problem' central to the novel. In an interview, Banks specifically compares this to having a Civilization battleship arrive while the player is still using wooden sailing ships. [1] [2]
The book, more than any of the other Culture novels, focuses on the Culture's Minds as protagonists.
When asked about his focus on the possibilities of technology in fiction, Banks said about the book: [3]
You can't escape the fact that humanity is a technological species, homo technophile or whatever the Latin is. Technology is neither good or bad, it's up to the user. We can't escape what we are, which is a technological species. There's no way back.
The book shows a number of Minds acting in a decidedly non-benevolent way, somewhat qualifying the godlike incorruptibility and benevolence they are ascribed in other Culture novels. Banks himself has described the actions of some of the Minds in the novel as akin to "barbarian kings presented with the promise of gold in the hills." [4]
Kirkus Reviews described the book as "Brilliantly inventive and amusing – whole sections read like strings of knowing jokes – but a mess: Chattering spaceships with splendid if confusing names [...] don't compensate for the absence of real characters." [5] A few who praised it commented that Excession's complexity and frequent use of in-jokes make it advisable for new readers of Banks' Culture stories to start with other books. [6] [7] In a retrospective of Excession at Tor, Peter Tieryas writes, "There are literally paragraphs thrown in as background detail that could make for amazing novels of their own. Part of the joy of Excession is hearing the Minds speak with each other, that matrix-like shower of numbers, text, esoteric syntax, and witty repartee." [2]
Reviewed in Arcane Magazine with a 10/10 rating, the novel was an "astounding achievement," regarded as "huge in scope, intricate in detail, swaying from pathos to metaphysics and from humour to light-speed action," with Banks considered, "a science-fiction writer truly without equal at the moment." [8]
Iain Banks was a Scottish author, writing mainstream fiction as Iain Banks and science fiction as Iain M. Banks, adding the initial of his adopted middle name Menzies. After the success of The Wasp Factory (1984), he began to write full time. His first science fiction book, Consider Phlebas, appeared in 1987, marking the start of the Culture series. His books have been adapted for theatre, radio, and television. In 2008, The Times named Banks in their list of "The 50 greatest British writers since 1945".
Consider Phlebas, first published in 1987, is a space opera novel by Scottish writer Iain M. Banks. It is the first in a series of novels about an interstellar post-scarcity society called the Culture.
The Culture is a fictional interstellar post-scarcity civilisation or society created by the Scottish writer Iain Banks and features in a number of his space opera novels and works of short fiction, collectively called the Culture series.
The State of the Art is a short story collection by Scottish writer Iain M. Banks, first published in 1989. The collection includes some stories originally published under his other byline "Iain Banks", as well as the title novella and others set in Banks's Culture fictional universe.
The concept of self-replicating spacecraft, as envisioned by mathematician John von Neumann, has been described by futurists and has been discussed across a wide breadth of hard science fiction novels and stories. Self-replicating probes are sometimes referred to as von Neumann probes. Self-replicating spacecraft would in some ways either mimic or echo the features of living organisms or viruses.
The City and the Stars is a science fiction novel by British writer Arthur C. Clarke, published in 1956. This novel is a complete rewrite of Clarke's earlier Against the Fall of Night, his first novel, which had been published in Startling Stories magazine in 1948 after being rejected by the editor of Astounding Science-Fiction, according to the author.
A Deepness in the Sky is a science fiction novel by American writer Vernor Vinge. Published in 1999, the novel is a loose prequel to his earlier novel A Fire Upon the Deep (1992). The title is coined by one of the story's main characters in a debate, in a reference to the hibernating habits of his species and to the vastness of space.
The Uplift Universe is a fictional universe created by American science fiction writer David Brin. A central feature in this universe is the process of biological uplift.
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The zoo hypothesis speculates on the assumed behavior and existence of technologically advanced extraterrestrial life and the reasons they refrain from contacting Earth. It is one of many theoretical explanations for the Fermi paradox. The hypothesis states that extraterrestrial life intentionally avoids communication with Earth to allow for natural evolution and sociocultural development, and avoiding interplanetary contamination, similar to people observing animals at a zoo. The hypothesis seeks to explain the apparent absence of extraterrestrial life despite its generally accepted plausibility and hence the reasonable expectation of its existence.
Post-scarcity is a theoretical economic situation in which most goods can be produced in great abundance with minimal human labor needed, so that they become available to all very cheaply or even freely.
Social science fiction is a subgenre of science fiction, usually soft science fiction, concerned less with technology or space opera and more with speculation about society. In other words, it "absorbs and discusses anthropology" and speculates about human behavior and interactions.
The Xeelee Sequence[a] is a series of hard science fiction novels, novellas, and short stories written by British science fiction author Stephen Baxter. The series spans billions of years of fictional history, centering on humanity's future expansion into the universe, its intergalactic war with an enigmatic and supremely powerful Kardashev Type V alien civilization called the Xeelee, and the Xeelee's own cosmos-spanning war with dark matter entities called Photino Birds. The series features many other species and civilizations that play a prominent role, including the Squeem, the Qax, and the Silver Ghosts. Several stories in the Sequence also deal with humans and posthumans living in extreme conditions, such as at the heart of a neutron star (Flux), in a separate universe with considerably stronger gravity (Raft), and within eusocial hive societies (Coalescent).
Worldbuilding is the process of constructing an imaginary world or setting, sometimes associated with a fictional universe. Developing the world with coherent qualities such as a history, geography, culture and ecology is a key task for many science fiction or fantasy writers. Worldbuilding often involves the creation of geography, a backstory, flora, fauna, inhabitants, technology and often if writing speculative fiction, different peoples. This may include social customs as well as invented languages for the world.
Matter is a science fiction novel from Iain M. Banks set in his Culture universe. It was published on 25 January 2008.
Perfect Imperfection: First third of progress is a science fiction novel published in 2004 by the Polish science fiction writer Jacek Dukaj, ostensibly as the first part of a planned trilogy. It was published in Poland by Wydawnictwo Literackie.
Ancient astronauts have been addressed frequently in science fiction and horror fiction. Occurrences in the genres include:
The Culture series is a science fiction series written by Scottish author Iain M. Banks and released from 1987 until 2012. The stories centre on The Culture, a utopian, post-scarcity space society of humanoid aliens, and advanced superintelligent artificial intelligences living in artificial habitats spread across the Milky Way galaxy. The main themes of the series are the dilemmas that an idealistic, more-advanced civilization faces in dealing with smaller, less-advanced civilizations that do not share its ideals, and whose behaviour it sometimes finds barbaric. In some of the stories, action takes place mainly in non-Culture environments, and the leading characters are often on the fringes of the Culture, sometimes acting as agents of Culture in its plans to civilize the galaxy. Each novel is a self-contained story with new characters, although reference is occasionally made to the events of previous novels.
Surface Detail by Iain M. Banks is a science fiction novel in his Culture series, first published in the UK on 7 October 2010 and the US on 28 October 2010.
The Hydrogen Sonata is a science fiction novel by Scottish author Iain M. Banks, set in his techno-utopian Culture universe. The hardcover edition was released on 4 October 2012 in the United Kingdom, and on 9 October in the United States. The book's release marked 25 years since the publication of Banks' first Culture novel. A paperback edition of the book was released on 5 September 2013 in the United Kingdom, and on 10 September in the United States. The Hydrogen Sonata was Banks' last science fiction novel, as he died of gall bladder cancer in June 2013.