This is my first experience with Ian Banks' famed "Culture" setting, whose books don't function the way a normal book series does, but rather, as simply a shared setting that many of his books take place in. Order is not important, as I understand it, as the universe he creates is so vast that a huge myriad of diverse stories can be told within it, without a need for the linear development of a series. Indeed, Banks' world-building skill is definitely the draw for this novel.Within the first thirty pages or so, you're introduced to a few dozen races, plunged headlong into a fascinating galactic civilization that spans millions of years, and thrown face-first into some incredible ideas like that of "The Culture." The basic set up is incredibly intriguing: Certain races are so old that are not seen anymore, but their handiwork remains, to be used by those who find it. Other races are the "higher" races, that basically control the bulk of the galaxy. They are aware of the history of everything, and interact on a high level. Then there are other, lower races, who are used as pawns by the higher races, and are only dimly aware (sometimes only the leaders are aware) of the higher races, and then there are races even lower down the pole who have no knowledge of galactic civilization whatsoever. This allows for layers upon layers of political intrigue that draws you in and quickly wraps you up in its web of backstabbing diplomacy. It also allows for an incredible mix of civilization types and technology levels. I especially liked how one of the "middle" races this book focuses on seemed to have a feudal, medieval style structure, making use of medieval armor, but there were also guns, and flying mounts, and they would occasionally interact with the higher technology of the advanced races, who were in turn using technology of ancient races that they themselves barely understood. It's a fascinating world with so many levels of intrigue that you can't help but be pulled in. The world becomes even more fascinating when seeing the way the higher races interact with each other. Central to these races is a group called "The Culture," which functions sort of as a race, but is actually a conglomeration of many races. It's like a twisted version of Star Trek's Federation. Most of the races take great care to not interfere with the lower races in ways that harm their development, but The Culture has a group within it known as "Special Circumstances" who see it as their job to interfere in other worlds development. By killing certain key groups, breaking up wars before they happen, or allowing certain wars to happen and directing them in a certain way, Special Circumstances guides the development of lower races using clandestine methods and insane levels of high technology. Banks makes a habit of taking sci-fi tropes (especially Star Trek ones) and turning them on their head in interesting ways. Added to this setting are interesting ideas such as sentient ships, and the great concept of the "Shellworlds," which are planets that were literally constructed by an ancient race for an unknown purpose. The planets are hollow, consisting of many layers, each layer the home to a different species of varying technology levels. I also enjoyed how well Banks thought through the physical interactions between races. Ships often have to choose an atmosphere that is conducive to a majority of races, but make allowances for races that breathe different types of air, or are used to a different level of gravity, etc. Most of these differences are very well thought out, and the idea that completely different forms of life have to create shared spaces where they can all coexist and interact becomes very believable. The only real stretch was translation technology (a Trek-like Universal Translator is used) but it is far from perfect, so Banks plays with the language. I like how consistent his mis-translations were, members of certain races consistently make the same grammar and syntax errors, giving each race a certain flavor, even when they speak the common language.But as fascinating as the world is, setting always takes a backseat to story and character. Luckily Banks is skilled here as well. His characters are well fleshed out, interesting, differentiated from each other quite well, and don't seem to ever be ciphers that are there to merely fill plot points. The story is intriguing as well, centering around the political struggles of a middle race living on a Shellworld, whose royal family is torn apart by betrayal and war. Matters become more complicated when a former member of the royal family returns -- a young woman who was given to The Culture at a young age as the result of a political bargain, and who has grown up to become a member of Special Circumstances. In the middle of all this is the discovery of mysterious ancient ruins within the Shellworld.The story is great -- until the end. I was literally reading up until the last page, fascinated, becoming more and more excited as the action ramped up -- and then I turned the page and realized the book was over. I have never experienced so abrupt an ending. I actually thought I might have gotten a misprinted book, but no, it's just that abrupt. Over 400 pages of deep political intrigue and character development have absolutely zero payoff, as none of it is resolved and none of it even matters at all in the end. I suppose Banks might be trying to make some existential point there, which is kindof interesting and all, but now I have all of this complicated, fascinating plot floating around in my head with no payoff whatsoever. I felt completely cheated by the ending. What started off as one of the greatest science fiction novels I have ever read became just another lame one-off that happened to have a great setting. I'll definitely be checking out some of Banks' other Culture novels, as I am fascinated by the setting, and I'd love to live in this world a little more. I'm also interested to see if the plot resolution issues are unique to this book, or if it's a theme of his.Either way, this book is worth checking out if you're really into Sci-fi and want to check out a cool setting. Just know going in that the ending is lame, and enjoy it for what it is.
Is it really the first Culture novel for seven years? Where does the time go? While 2004's The Algebraist was full of the verve and invention that we nowadays simply expect by right from Banks' science fiction, somehow the absence of the Culture also left it lacking the ideological thrill – the politics of utopia, as it were – that gives a Banks' novel its heart. Hence the cover of my preview copy simply says, 'The Culture is back. Nothing else matters.' A statement I didn't entirely disagree with (to the disgust of my wife). But to what, I wondered, does the cryptic title refer? What definition of 'matter'?Only one thing is certain: this is a Banks' book so it could be any or all of them.Matter begins on Sursamen, a Shellworld, a gigantic Russian Doll of a world, built eons ago by an inscrutable and extinct race for an unknown purpose. There are thousands scattered across the galaxy (although there used to be many more), most of which are inhabited by a glorious multitude of different races. Levels eight and nine respectively of Sursamen happen to be the home of the Sarl and the Deldeyn, human-like species both undergoing their equivalent of the industrial revolution, and both at war with each other. At the moment of his greatest triumph, Hausk, king of Sarl, is murdered by his closest advisor and we thenceforth follow his surviving offspring: foppish heir to the throne Ferbin, on the run having borne secret witness to his father's ultimate betrayal; bookish Oramen, heir apparent to the now-vacant throne of Sarl; and finally, absent Djan. Given by her father to the Culture some years ago, she has not merely been given citizenship of the Culture, but has become a member of Special Circumstances (or SC), its shadowy secret service.Meanwhile, Ferbin sets out on a mighty journey to enlist his sister's help in avenging their father, although Djan is already returning to Sursamen for reasons of her own, and both hope to save their naïve younger brother, who is in terrible danger from his father's killers.The Culture can't intervene directly on Sursamen for various diplomatic reasons, so their possessing an SC agent is perhaps fortuitous – as much as anything is ever fortuitous in the Culture (I'm thinking of the Sleeper Service and its deep deep cover mission in Excession, which is pointedly recalled here). Most of Matter follows characters to whom the Culture and other such advanced civilisations are distant legends, so we're very much down and dirty with the locals - readers hoping to be thrust once more into the Aladdin’s cave of the Culture per se may be disappointed; this isn't another Inversions, but rather somewhere in-between. While there are wonders by the score, interesting characters aplenty and even a few amusing ship names thrown in for old times' sake, Matter feels like something of a marginal Culture novel, serving mainly to give us a better idea of the Culture’s place and standing in the galactic hierarchy.The story (and especially the ending) feels a bit tenuous. All the various threads work well enough on their own, and the set-pieces, as always, are awe-inspiring, but the story doesn't pull together into a satisfying whole: simply having everyone blunder entertainingly about, incidentally visiting some marvellous places, does not a great novel make, I’m afraid.In fact, I think there are two novels wrestling each other here – with the one featuring the Culture coming off least well. You have to ask, if the Culture wasn’t here would it make a very great difference to matters, and the answer is ‘only to its fans’ (of which I’m definitely one). There’s also some frankly lazy infodumping – fascinating info, I grant you, about which I hesitate to complain because Banks' infodumps have in the past changed the way I think about science fiction as a genre - but info is being dumped upon you, and no mistake.So, a slight disappointment then; but a slightly disappointing Culture novel is still a standard that many other writers should aspire to. Matter is a cracking read on its own, just not a great addition to the Culture canon, adding little to our understanding of everyone's favourite post-scarcity wish-fulfillment civilisation. And what 'matter' do I finally think Mr Banks is referring to? I rather suspect it to be a little joke: that even the stupendous Minds of the Culture still depend upon matter as a stratum for their thought processes, so that, ahem, matter matters.
What do You think about Matter (2008)?
This book is a fractal -- no matter how you zoom in or out, the basic structure remains the same. It starts incredibly zoomed in on the three (maybe four) main characters, then proceeds to zoom out. . . and out. . . and out. . . until the story encompasses issues as large as the destruction of a world and the resurrection of a long-thought-dead alien society. But, (I think purposefully) to emphasize its fractal nature, the climax comes in an instant and then the whole story comes crashing back down to the very zoomed-in. I think this novel will work or not for you based on how well you adapt to that sudden drop. It didn't, particularly, for me, as I was left feeling distanced from the people I had cared about since the beginning, but intellectually I have a great deal of admiration for the skill the novel showed.
—Phoenixfalls
Matter is set in the Culture Universe, which I find to be absolutely fascinating. The background of this book is, Sursamen is a Shellworld, a multi-level world created by beings long since gone and populated by a mixture of humans and aliens. At it's core resides the World God, and ancient being that just hangs out. Prince Ferbin is dragged off to war against the Ninth by his father, King Holse. The battle goes badly and Ferbin flees only to witness the brutal death of his Father at the hands of a traitor. Ferbin flees again, knowing his life is forfeit if he shows his face at court. However, by running he knows he puts his younger brother in peril, but it's the only chance he has of saving Oramen. Accompanied by his steadfast servant, Holse, Ferbin makes his way to the surface and goes in quest of two people who may be willing to help him avenge his fathers death and save Oraman: one is the person who brought them the technology and the other is his sister, gone 15 years now in service to the Culture. I'm simplifying greatly here. The concepts that Banks brings to a Culture book are just amazing. The Culture ships are back with their quirks and personalities. We are introduced to Special Circumstances, an organization that likes to nudge developing societies along. We come across a galaxy full of aliens with their own agendas and power struggles who merely tolerate the humans. I also thought Matter was a better read than the Algebraist. The Algebraist, while fascinating, was a slog through a peat bog. Matter was more of a slog through a partially frozen peat bog. Meaning, these are not quick reads. But I highly recommend them.
—Kristin
[Swirling patterns. Weird, vaguely familiar, futuristic music. Is it the Doctor Who theme tune? Slowly the camera pulls back to show the title Celebrity Death Match Special: Blackadder versus The Cultureand we realize it's an unusual setting of the Blackadder song.Dissolve to ROWAN ATKINSON and HUGH LAURIE, who looks rather unhappy]ATKINSON: Is everything alright, sir?LAURIE: Oh yes, rather, absolutely spiffing, top hole, couldn't be better. Except for one little thing.The rest of this review is available elsewhere (the location cannot be given for Goodreads policy reasons)
—Manny
