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Average rating4.2
It begins in the realm of the Real, where matter still matters.
It begins with a murder.
And it will not end until the Culture has gone to war with death itself.
Lededje Y'breq is one of the Intagliated, her marked body bearing witness to a family shame, her life belonging to a man whose lust for power is without limit. Prepared to risk everything for her freedom, her release, when it comes, is at a price, and to put things right she will need the help of the Culture.
Benevolent, enlightened and almost infinitely resourceful though it may be, the Culture can only do so much for any individual. With the assistance of one of its most powerful - and arguably deranged - warships, Lededje finds herself heading into a combat zone not even sure which side the Culture is really on. A war - brutal, far-reaching - is already raging within the digital realms that store the souls of the dead, and it's about to erupt into reality.
It started in the realm of the Real and that is where it will end. It will touch countless lives and affect entire civilizations, but at the center of it all is a young woman whose need for revenge masks another motive altogether.
SURFACE DETAIL is Iain M. Banks' new Culture novel, a breathtaking achievement from a writer whose body of work is without parallel in the modern history of science fiction.
Featured Series
10 primary booksCulture is a 10-book series with 10 released primary works first released in 1987 with contributions by Iain M. Banks.
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Banks' series of Culture novels stands, in my humble opinion, alongside any of the great Space Opera sagas. And this is Soace Opera writ large, bursting with wit and invention and ideas. Banks manages to tell a story that covers a lot of ground, with interweaving plot strands and a large cast of characters but without the humourless po-facedness of much science fiction.
Banks' last Culture novel, Matter, was good, but for my money this one is better. For one thing there's more of the actual Culture in it, from the inventively named Ships to Special Circumstances and numerous other features familiar to anyone who's read previous books. But what he tackles here is a Big Idea, namely, what if, once total electronic transference of a consciousness becomes possible, you create virtual afterlives for those souls to experience. And what if several civilisations decided to create Hells to punish those deemed ‘unworthy'.
There is a virtual war going on to decide the fate of those Hells but, with the anti-hell side starting to lose, the war threatens to spill over into the Real. Banks' descriptions of one of those Hells is stunning, bringing to life the unremitting horror of such a thing and the suffering of the souls trapped in it.
There are various plot strands at work here, from the uber-capitalist Veppers and his double-dealing, to the nefarious dealing of SC agents and the appallingly behaved, but hilariously funny warship avatar Demeisen. One thing is certain, Banks thinks capitalism is a bad thing and the venal, grasping Veppers embodies all that is wrong with that system. The Culture is by contrast some kind of ideal society, not without flaws, but one where people don't feel the need to step on others to get ahead.
With consummate skill, Banks bring all the various plot strands together to a satisfying conclusion and despite being 600 pages long, the book is an easy read. A veritable page-turner.
For newcomers to the Culture stories this is probably not the place to start. Try The Player of Games, or my personal favourite Excession before tackling the later books. You won't regret it.
Banks' genius is imagining a future removed from labour, sickness, even death, and then royally screwing it all up with people finding ways to pervert utopia and exploit post-scarcity. Just amazing and stunning sci-fi from cradle to grave.
« Surface Detail » est le neuvième et avant-dernier tome du cycle de la Culture de Iain M. Banks. Malgré ses qualité indéniables, c'est peut-être celui que j'ai pris le moins plaisir à lire. Certains passages m'ont beaucoup plu, mais je dois avouer que j'ai fini par me lasser de la multitude de scènes d'action, qui n'ont jamais été mes scènes préférées dans la littérature de science-fiction.
Le roman parle principalement de réalités virtuelles, de religion, de pénitence, et du concept de réalité, le tout au sein d'un récit de vengeance digne d'une tragédie grecque (c'est un compliment venant de moi) et de complots intergalactiques pas toujours aisés à suivre. Nous suivons plusieurs personnages plus ou moins sympathiques et attachants : il y a ceux dont j'ai suivi les aventures avec plaisir, ceux que j'ai adoré détester, ceux qui m'ont ému, et ceux qui m'ont laissé totalement indifférent.
Ce roman m'a donc laissé avec une impression contrastée : des idées lumineuses, une créativité toujours géniale, des passages réellement sublimes, mais avec des personnages inégaux, un récit un peu trop confus à mon goût, et des scènes d'action trop fréquentes et trop longues. J'ai parfois eu l'impression de lire deux livres en un : l'un centré sur la psychologie des personnages et la philosophie, tendant vers ce que j'avais tant aimé dans « Look to Windward » ; l'autre plus proche de la SF militaire, qui n'est pas franchement mon sous-genre préféré dans la science-fiction.
Quoiqu'il en soit, cela reste tout de même de la très bonne science-fiction, supérieur à la moyenne des publications dans ce genre. Il ne me reste désormais plus qu'un roman à lire pour achever ce monumental cycle de la Culture.
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