Good bye culture

Another amazing installment in the culture series. I didn't like them all, but I liked this one. I really couldn't put it down towards the end.

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To Sublime or Not to Sublime—

Iain M. Banks' tenth and last Culture novel Hydrogen Sonata (2012) is all about Subliming. For millennia the Gzilt have felt superior to other galactic civilizations because of their scientifically prescient holy book, and now only 24 days remain till they Sublime. In theory this happens when a civ has nothing more to achieve technologically and culturally and involves nearly everyone abandoning possessions, desires, and ambitions etc. and transcending from the Real to a Childhood's End-like nirvana in multiple unknown dimensions.

But are the Gzilt really ready for Subliming? Why does one of their warships atomize a diplomatic ship sent by the already Sublimed civ who helped them develop by giving them their holy Book of Truth? The destroyed ship was carrying a message, and if it was, say, "The Book of Truth was an experiment on the Gzilt by an advanced civilization," what would the Gzilt do if they found out? Will the two scavenger civs eagerly waiting for the Gzilt to Sublime start fighting over the abandoned technology too soon? What role should the Culture (the preeminent galactic civilization comprised of disparate societies guided by near divine AI ship Minds) play in all this? Their ship Minds don't like to interfere with other civs, but they also like to get to the bottom of mysteries and want to do the Right Thing. If they confirm that the Book of Truth was an experiment, should they tell the Gzilt? And what is the connection between the Gzilt Subliming and the legendary QiRia, a 10,000-year-old Culture man whose memories are encoded in his body, and the nearly unplayable and unlistenable to Hydrogen Sonata, which the Gzilt woman Vyr Cossont has decided to play as her life work (to the extent of adding a second pair of arms onto her body)?

For that matter, what IS Subliming? It is an act of faith, because information is scarce, because (typically) no one returns from the Sublime or communicates from it to the Real. Is it as most Gzilt believe a promotion to "the most brilliant lucid dream forever" in the "Happy land of good and plenty," or is it as many Culture Minds believe a kind of retirement into an old people's home or an act of collective insanity and annihilation? Banks, who died before he could write another Culture novel, isn't telling.

Whatever happens once you say "I Sublime" and vanish from the Real, it has no connection with ethical behavior. The Gzilt are no angels. Their politicians are amoral, their military leaders inhumane, their artists decadent. All that may be Banks' point. As QiRia puts it, "my heart is broken with each new exposure to the idiocies and cruelties of every manner of being that dares to call or think of itself as intelligent." But he also says (sounding like Banks) that one pleasure of benign misanthropes like him is watching the dolts repeat the same "fuckery."

But Banks is no future downer. He exuberantly spins out small s sublime technologies and scales of time and space for his galactic post-scarcity playground, like sculpted planets, a 30,000 km-long city girdling a world, elevenstring instruments so big you have to sit inside and play them with two bows, hyperspace, anti-matter and anti-gravity, body implants, stored consciousnesses, eccentric drones, combat arbites, nano missiles, and smart battle suits. Not to mention the Culture AI ship Minds keeping an eye on things and deciding what to do in conference calls, with their different personalities, agendas, hobbies, capabilities, avatars, and quirky names: the Beats Working, Mistake Not. . . (ellipsis intentional), Smile Tolerantly, You Call This Clean?, A Fine Disregard For Inconvenient Facts, Empiricist, Caconym (which means an incorrect name), and more.

Banks is not just parading awesome techs and sublime scales for the fun of it (although his book is fun), but to explore serious questions, like What is the meaning of life when there is no Meaning? What are the ethical and practical limitations of simulations? Should more advanced civilizations take a hands on or off approach to less advanced ones? Is intelligence connected to decency or to technology? Can we avoid repeating the mistakes of the past? What makes us human? What makes us individuals? Where does identity reside? And so on.

Banks writes space opera about the human condition, as when an android in real danger says, "Happily, I am not human, and this is only a simulation." He writes snappy and humorous dialogue, like "Are you afraid of heights?" "No, just of dying generally." He writes sublime space opera comedy: "Back aboard the Passing By, the mind controlling both the systems vehicle and the avatar was doing the hyper AI equivalent of grimacing and mouthing the word, 'Shit.'" He writes straight space opera sublime, as in a description of the sound made by giant wind pipes, like "from an enormous choir of bases singing a slow sonorous hymn in a language you never understood."

Peter Kenny reads the audiobook with verve and skill. He distinguishes among the many characters by changing the pitch of his voice (Vyr Cossont's familiar Pyan talks like an infant stuffed animal, a combat android like a cheerful machine, an Ronte prince like an insect, a mysterious ship Mind like a senile Merlin, etc.) or his accent (though I wonder why people or AI Minds from the same civ speak American, British, Scottish, or Australian English).

Hydrogen Sonata is not perfect. There may be too many advanced technologies and point of view characters, some of which/whom finally don't seem so vital to the plot (like Tefwe, the Zoologist, and even the Hydrogen Sonata). True, Banks wants to freely exercise his imagination in a universe in which anything is possible, and at one point a "body enhancement artist" tells an interviewer that he recently had 53 serviceable penises on his body and that one should "never feel sorry for excesses, only for failure of nerve." But this novel feels more excessive and less satisfying than earlier Culture novels. The climax is exciting, but the resolution (deciding whether or not the Gzilt will Sublime and what will happen to some bad actors) is somehow disappointing. The last words of the novel nearly blow every prior thing away: "caught in the swirling breeze produced by the flyer's departure, [the elevenstring instrument] hummed emptily. The sound was swept away by the mindless air."

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Another great story from a Scifi master

What did you love best about The Hydrogen Sonata?

With the Culture novels I always particularly enjoy the Ships and they are central to this story too.

What did you like best about this story?

The interaction between the humans and Ships

Which scene was your favorite?

The one in which the full name of one of the Ships is revealed - perfectly done with maximum impact and enjoyment :)

Was there a moment in the book that particularly moved you?

I would say that I was most effected by my favourite scene but at many points I found myself pondering the implications of the events and their impact on protagonists and myself in their place alike.

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Love it

Where does The Hydrogen Sonata rank among all the audiobooks you’ve listened to so far?

Top 10%

What other book might you compare The Hydrogen Sonata to and why?

Any of the Culture series by Banks or the Polity by Neal Asher

Have you listened to any of Peter Kenny’s other performances before? How does this one compare?

Yes. Even better, excellent accents, consistent interested delivery.

Was this a book you wanted to listen to all in one sitting?

yes

Any additional comments?

Don't miss it

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Slow starter

The Hydrogen Sonata was a slow starter and I quite nearly gave up on it, but it paid off. Iain M. Banks paints an amazing story and Peter Kenny is supernaturally good at performing the whole thing.

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The last 7 chapters don’t play

Up until now, an excellent book with excellent narration. Anyone else had this particular issue?

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Hmm... Ok.. But not great

I've read most of Banks's work by now, and this is a little underwhelming. After the depth and breadth of Surface Detail, this leaves me feeling a little cold. Banks as always paints sweeping vistas of alien awesomeness and really digs in with amazing concepts and high tech culture. But one doesn't ever really like his characters, only the Minds seem to have any depth to them.

It won't be the last Banks i read, he does keep me hooked enough to continue. But I hope they get better rather than worse from here.

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1 person found this helpful

Impossible to listen. Unfit for an audio book

Let me start with a direct quote from this book
> Still, as one of the ship Minds that had been involved at the sharp end of the Idiran war a thousand years earlier and not gone into a profound retreat, a group-mind or the wilder shores of Eccentricity, the Mind within the Caconym understood that it constituted a kind of resource for the Culture, and grudgingly accepted that it had some sort of responsibility to play along.

Now try to read it back aloud. This sentence is hard to read even in the original written form, let alone when it's spoken back to you in an audio book.

I speak English fluently though I'm sure not a native speaker. Yet my level of language comprehension is quite high. But this title is barely readable. Such long complicated sentences are just painful to digest, let alone enjoy. On top of that the novel is context heavy. The author is using myriads of acronyms, abbreviations. Dialogs between ships go in super informal manner with little or zero exposition. Ship names are interrupted sentences.

...I could go on for few more paragraphs. In my mind this is a poorly edited novel. Yes it may have an interesting and engaging plot, but it's really hard to get through all these roadblocks emerged by the author.

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