Consider Phlebas: A Culture Novel (The Culture)

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The Jinmoti of Bozlen Two kill the hereditary ritual assassins of the new Yearking's immediate family by drowning them in the tears of the Continental Empathaur in its Sadness Season.” Ban on A.I.: the Idirans are against AI for religious reasons and use limiting devices to ensure their computers don't become sentient. Dave Langford reviewed Consider Phlebas for White Dwarf #90, and stated that "Banks pumps in enough high spirits to keep this rattling along to his slam-bang finale in the bowels of an ancient deep-shelter system whose nuclear-powered high-speed trains are used for... well, not commuting." [4] In other media [ edit ] Cancelled TV adaptation [ edit ] Consider Phlebas, like most of Banks's early SF output, was a rewritten version of an earlier book, as he explained in a 1994 interview:

There is, however, one shred of mystery left at the very end… the rescued Mind, the McGuffin of the whole business, decides to call itself by Horza’s name… Now why should that be? Has the Changer somehow managed to transfer his infinitely adaptable personality… ? The Culture and the Idiran Empire are at war in a galaxy-spanning conflict. A Culture Mind, fleeing the destruction of its ship in an Idiran ambush, takes refuge on Schar's World. The Dra'Azon, godlike incorporeal beings, maintain Schar's World as a monument to the world's extinct civilisation and the dangers of nuclear proliferation, forbidding access to both the Culture and the Idirans. Horza, a shape-changing mercenary, is rescued from execution by the Idirans who believe the Dra'Azon guardian may let him onto the planet as in the past he was part of a small group of Changers who acted as stewards. They instruct him to retrieve the Mind.Welcome to the Culture Reread! Today is the first proper post of the series, and we’re off with the prologue and chapters 1 and 2 of Consider Phlebas. Behind it, still expanding, still radiating, still slowly dissolving in the system to which it had given its name, the unnumbered twinkling fragments of the Orbital called Vavatch blew out toward the stars, drifting on a stellar wind that rang and swirled with the fury of the world’s destruction.” Consider Phlebas, the first of Iain M. Banks’s CULTURE novels, introduces readers to the Culture, a machine-led intergalactic civilization that offers its biological humanoids a carefree, utopian lifestyle. Though most centuries are free from worry, Consider Phlebas takes place in the middle of the Idiran-Culture War. Shapeshifter Identity Crisis: Horza (as a shapeshifter) has a literal invocation of this trope. He doesn't lose control of his shifting, but several of the dream sequences he experiences hint that he may not actually be who he thinks he is. Banks met his wife Annie in London, before the release of his first book. They married in Hawaii in 1992. However, he announced in early 2007 that, after 25 years together, they had separated. He lived most recently in North Queensferry, a town on the north side of the Firth of Forth near the Forth Bridge and the Forth Road Bridge.

Every bit as ambitious and prophetic as the film that shared its inception, Arthur C. Clarke’s 2001: A Space Odyssey remains a towering science-fiction classic. This Folio Society edition sees it illustrated for the first time. This is useful as an introduction to the CULTURE, but not necessary. The plot is often exciting and there are some awesome set pieces which would make a great movie, but there are no characters to root for (they seem to be created as anti-heroes) and the plot, which feels incohesive, takes much too long to accomplish. There are also fewer of the “big ideas” I’ve come to expect from Banks. I would love to see this condensed and produced as a movie.

Quayanorl suffers mortal wounds and is left behind. Gruesomely injured, blind, and dying, he still manages to drag himself to perform one last action against his enemies, which averts the impending happy ending and turns it into a kill 'em all. Xoxarle, who — after Horza and company capture him following a Ray Gun fight — spews insults at the Changer in a futile attempt to get himself killed and reunite with his fallen comrades, rather than face the shame of being taken prisoner. Spanner in the Works: Quayanorl. Or more specifically, the fact that Irdians are Made of Iron to such a ridiculous extent that he survives an attempt to Make Sure He's Dead, clinging on to life just long enough to pull a Taking You with Me on Horza's party.

Sympathetic P.O.V.: Horza hates the Culture and, for example, while the later novels draw humor from the humorous/macabre names the Culture gives to ships, he's disgusted by this apparent display of the Culture's cavalier attitude towards something as grim as interstellar warfare. Death World: An unseen example is the Idiran homeworld, which has caused them to evolve into badass warriors. Horza is an Idiran spy, and his unfortunate state is a consequence of being caught impersonating a high-ranking government official—he murdered the original, which is apparently Horza’s standard operating procedure—on a Culture-allied planet called Sorpen. (Sorpen is run by a “gerontocracy”, a ruling body entirely composed of elderly men. Typical Banks: this interesting idea, which might have formed a setting for a whole other novel, is used, noted, and never dealt with again.) Phlebas the Phoenician, a character from T. S. Eliot’s poem The Waste Land, part IV and Dans le Restaurant.Everything about us, everything around us, everything we know and can know of is composed ultimately of patterns of nothing; that’s the bottom line, the final truth. So where we find we have any control over those patterns, why not make the most elegant ones, the most enjoyable and good ones, in our own terms?” Literary Allusion Title: From T. S. Eliot's The Waste Land. Phlebas the Phoenician died at sea, and now lies forgotten. The verse asks that the reader remember Phlebas in his youth, and how he spent his life on worldly concerns that all came to nothing with his death. Throw the Dog a Bone: After spending the whole book being bullied and subjected to Fantastic Racism by Horza, Unaha-Closp survives the " kill-'em-all" final battle, and retires to build "small steam-driven automata as a hobby". So Consider Phlebas is about a military conflict between the Culture and the Idirans, a powerful and militant race that is united by its belief that its mission is to spread its religion to all other races, generally by force. The Culture is diametrically opposed to such behavior, so it reluctantly finds itself embroiled in a far-ranging galactic war that will eventually involve trillions of casualties and the destructions of thousands of planets, Orbitals, GSVs (General Systems Vehicles), Minds, etc. In the book, despite its length, we only get to see a tiny glimpse of this massive conflict via a few key characters and events. I don’t care how self-righteous the Culture feels, or how many people the Idirans kill. They’re on the side of life—boring, old-fashioned biological life; smelly, fallible, short-sighted, God knows, but real life. You’re ruled by your machines. You’re an evolutionary dead end.”