It's undoubtedly a page-turner that not only keeps you hooked from start to finish but also poses a plethora of remarkably prescient questions. It's quite astonishing considering the book was written way back in 1996. What will the future relationship between humans and networked data look like? What if humans could be uploaded to the network? And how would all of this give rise to power struggles and censorship? These are the thought-provoking queries that the book presents.

Equally remarkable is Banks' innovative use of non-traditional protagonists. There are no typical, strapping lads in their prime. Instead, two of the main characters seem to be in their early teens, a third is an older woman, and the fourth - and it's not too much of a spoiler to reveal this as it becomes evident very early on - is deceased. This unique choice of characters adds an extra layer of complexity and新鲜感 to the story.

I don't believe it quite reaches the depth to be counted among his truly great books. However, I definitely found it enjoyable and engaging. It offers a fascinating glimpse into a future that, in some ways, is not too far-fetched.

I have read all of Iain M Banks' books. In 1994, when "Feersum Endjinn" was first published, I read it the following year. This is perhaps the only Science Fiction book of Iain M Banks that I had trouble finishing.

It is a story set in a future earth. One of the issues I had with this book was that the main character, Bascule the Teller, writes a large part of the story phonetically. It is really quite difficult to get used to. What actually occurs is that your reading pattern is disrupted. Instead of focusing on the story and the character's dilemma, you end up deciphering the text like hieroglyphs.

To give you an example, the fourth chapter begins: "Woak up. Got dresd. Had brekfast. Spoke wif Ergates thi ant who sed itz juss been wurk wurk wurk 4 u lately master Bascule, Y dont u ½ a holiday? & I agreed & that woz how we decided we otter go 2 c Mr Zoliparia in thi I-ball ov thi gargoyle Rosbrith."

The book was well received and won a BSFA award in 1994. However, I have only read it once and with great difficulty.

It is not one that I normally recommend, but for the sake of completeness, one has to read it.

Ian M. must have been on the dodgy smarties, mefinks (c, kan speek it 2), before if not whilst writin' sum a diss. (Wunz u start, its ard 2 stop). As a genre, buster, it's kinda out there: a little bit sf, a little bit children's, a lot a fantasy.

I read Feersum Endjinn first 8 years ago, didn't review it, and didn't rate it at the time (i.e. rank it), although I had a strong impression in my mind it wasnae bad, it was fun, too, so retrospectively rated it around 7/10. Then, when I dipped into the crypt a bit, I realised I remembered absolutely nothing about it except the baby talk (a feet in itself) and our dear Bascule bein' a byrd an goin up this kilometres-high babil-covered tower. An that wuz ol.

This time round, I was a little more critical, considering I've racked up a significant deal of experience of his wider portfolio by now: all the sf, most of it twice or more (Excession [1996], my fave, several times), and some of the mainstream (including the excellent The Business [1999]) - though The Wasp Factory [1984] has eluded me after 3 attempts now. So, I cast a critical eye upon Feersum Endjinn this time round, and troof-b-toad, it doesn't need such, but you do it automatically in comparison to the ideas, flow, articulation, merit, wit, affectionate humour, fun and sheer overall impression all the others have left in you. Needless to say, my initial assessment - of it being better than Inversions [1998], Look to Windward [2000], Matter [2008], The Algebraist [2004], The Hydrogen Sonata [2012], but not as good as the other Culture novels - was borne out. (I am yet to re-read the non-Culture Against a Dark Background [1995] and Inversions, just to do them justice 2).

It's a good quality novel in its imagination (it is redundant to say Banks had a fantastic imagination), in its structure, some of its characterisation, and its originality, but it has a few too many shortfalls. Firstly, the only rounded and interesting character is Bascule; Gadfium is some passive incidental, Asura is also too passive for the delicious feast she could have been, Sessine is utterly uninteresting (a lot like Zakalwe in Use of Weapons [1990]), and there are no strong secondaries. The concept of being 'in the machine', as reminiscent of the ghost and of virtual reality et al, is now old, a little jaded, and certainly unoriginal. In '94, it may have been more hip and sexy. It was quite well done, but unfortunately, during those episodes I found that the descriptive writing simply dragged on too long too often, and reading umpteen passages of description of landscape kind of takes the zizz out of things.

And here we come, I think, to one of the sad aspects of casting a critical eye back on both the works and the style of my all-time favourite science fiction writer: things have moved on. Despite the fact that the concept (and most of the novels and characters) of the Culture was a vastly original sf coup, the vanguard witty, sexy Thug-class attack of them faded with later releases (Matter was spoiled for me by the medieval half; The Hyrdogen Sonata mired by its base premise, Subliming; although Surface Detail [2010] did not disappoint). It's just harder to get worked up over Banks's non-Culture sf when the Culture works are far-and-away better by lightyears (barring the cross-border Transition [2009], of course, one of his best). So Feerum Endjinn has some pretty tough competition to start with, and it's not Culture, and it's not his best characterised. But further, in the short timeframe of the development of the sf genre over the past 20 years, once you've read the rapid-fire where-am-I? style of Hannu Rajaniemi, for example (read The Quantum Thief [2010] and you'll see my point instantly), you realise that pages of landscape description and chapters of cherished-theme proseltysing become a bit wearing... especially when the man has such state-of-the-art ('scuse) ideas, concepts, and craft, and otherwise a deeply satisfying literary style - and his affectionate humour and 'come-and-share-this-stuff-in-my-head' enthusiasm bubbles through a lot of great books.

Feersum Endjinn, though, was not one of these. Bowt midlin, Id sey.

In a distant future, the inhabitants of Earth see their existence threatened by the approach of a cosmic phenomenon, "the Intrusion", a kind of interstellar dust cloud that is approaching the planet and could end life by completely blocking the Sun's light.

In the novel, we will follow four characters, whose experiences are narrated in their own chapters that are linked together: Asura, a woman created by the Criptosfera (the world of virtual reality, to which all humans have access); Hortis Gadfium, a leading scientist who tries to solve the mystery of "the Plain of the Sliding Stones" and be able to communicate with the "Forta-torre", the remains of the superior technology of previous human civilizations, the scientific secrets of which have now been forgotten; the Count Alendre Sessine, general of the king's armies, facing the rebellion of the Clan of the Engineers; and Baskule "the Narrator", an adolescent novice of the pseudo-religious order dedicated to "navigating" the Criptosfera. The adventures of the four will converge until the epic and cryptic resolution of the book.

If this seems like a convoluted plot to you, I have only shown you a tiny part.

It may not be the easiest science fiction novel to read by the author, who is already an expert in convoluted plots, strange universes full of details and numerous characters, but it is a great story with the mark of the house. For beginners in the universe of Iain M. Banks.

BSFA Award 1995

A Dying Earth novel presents a truly unique concept. In this story, the earth itself decides that it has no intention of dying, not really. It especially refuses to perish due to the posturing of God-Kings and the presence of talking polar bears. The setting is conceptually vast and layered, much like the cyclopean castle of the Serehfa Fastness, which forms the major part of the backdrop. There are four likeable and distinct protagonists. Each of them offers a 4D view of the unfolding action from their different societal and situational perspectives.

What's remarkable about this novel is its cohesion, considering the setting where the author clearly has a great deal of fun incorporating all sorts of weird and wonderful ideas. It is unabashedly goofy yet sincere at the same time. Its fantastic take on a sci-fi story makes it an easy recommendation for fans of either the fantasy or sci-fi genre, and especially for those who love both. This novel offers a fresh and exciting reading experience that is sure to engage and delight readers.

Loads of big ideas are presented here.

It takes a considerable amount of time to make sense of the nature of the world.

The natural and virtual environments, with their differing time flows, further complicate matters. However, it is all part of the story.

There is a surrealistic quality to the proceedings.

As a bonus, there is a megastructure - a castle with rooms that are enormous, big enough to fit entire environments within (several miles each). The King's palace is a chandelier in one of the rooms, and another character's suite of rooms is inside the eye of a gargoyle. Banks definitely didn't think small.

There are different point-of-view characters, and a phonetic spelling is used for the sequences featuring a character with dyslexia.

Conspiracies and impending disaster add to the tension. The story is not told in chronological order, although it's not as messed up as in "Use of Weapons". Banks was truly brilliant. Just read his books already.

Oh, and it's important to note that this is not a Culture novel.

My Favourite!

My favourite thing in the world is reading. There is something truly magical about getting lost in the pages of a good book.

When I pick up a book, it's like I'm transported to another world. I can experience different emotions, meet interesting characters, and learn new things.

Whether it's a thrilling mystery, a heartwarming romance, or an informative non-fiction book, I always find something to enjoy.

Reading also helps me relax and unwind after a long day. It allows me to escape from the stresses of the real world and immerse myself in a fictional one.

In addition, reading has improved my vocabulary and writing skills. The more I read, the more words I learn and the better I become at expressing myself.

Overall, reading is my passion and I can't imagine my life without it. It enriches my mind, broadens my horizons, and brings me joy every single day.

In the distant future, the vast majority of humanity has journeyed to the stars. Those left on Earth have descended into a state of decadence, with most inhabiting the ruins of a colossal space elevator.

The ‘Crypt’, an advanced iteration of the global web, functions as a storehouse of human knowledge and a final abode for uploaded minds. However, countless millennia of neglect have plunged it into a state of utter chaos. Consequently, most knowledge, including that related to spaceflight, has become inaccessible.

Simultaneously, the Solar System is being encroached upon by a cloud of interstellar dust, which poses a threat to all life on Earth. The narrative follows four disparate strangers: a deceased general, a renowned scientist, a semi-literate ‘Crypt diver’, and a mysterious emissary from the inaccessible levels of the Crypt, who might hold the key to resolving the issue. Their paths converge as they stumble upon indications that the Government appears to be pursuing its own covert agenda rather than striving to save the planet.

The story alternates among these four characters, with a significant portion being presented phonetically from the perspective of an adolescent Crypt diver named Bascule. His troubles with state security and the repeated attempts on his life commence only after he begins searching for his lost friend, the talking ant Ergates (or ‘thi toking ant Ergates’, as he would express it). His story is a vivid, bizarre, hilarious, and utterly charming concoction. The Scottish dialect in which it is written presents both a challenge and that extra element that elevates an already excellent novel to greatness.

‘Feersum Endjinn’ is a slow-paced but captivating read, and Iain Banks, as always, is unyielding in his approach to readers. With Bascule’s phonetic spelling, the convoluted geography of the space elevator, and humanity’s intricate power balance, it takes some time to get one’s bearings. However, once you understand ‘the lay of the land’ and start discerning the converging plotlines, the payoff is magnificent. After a certain point, the book gains momentum like a snowball, making it almost impossible to put down towards the end. The story is engaging, the imagery is raw and potent, and the portrayal of humanity’s future is so alien and mind-boggling, yet so conceivable and possible that ‘Feersum Endjinn’ remains as relevant and gripping today as it was 25 years ago when it was first published.

‘A feersum novil’ of absolute brilliance indeed!

So rare, you know, to truly enjoy a book.

I suppose the first thing I'd say in a review is that if you have a passion for Iain Banks, you'll surely love this one too. However, if you're not familiar with him, the complexity presented here implies that you might be better off starting elsewhere. For instance, begin right at the beginning with "The Wasp Factory," or with the first book in the Culture series, "Consider Phlebas". This book gives the impression of being a "Culture" book, yet it isn't.

That being said, my other observation is that the alternate-language portion of the text, which constitutes approximately 1/4 of the narrative and is the source of the title, is executed very well. It brings to mind something like Russell Hoban's "Riddley Walker" among other works. Banks is truly a master at thrusting his reader into an ambiguous setting and compelling him/her to figure it out. (As I grow older as a reader, I find that this is precisely the kind of thing I desperately relish in books - having to exert effort to read them.) And he accomplishes this once again here with great virtuosity and plenty of rewards for the reader.

Quite an enjoyable read, this! The world Banks creates here is truly captivating. It is rich with far-future cosmological pondering, taking the reader on a journey through the depths of space and time. At the same time, it is flavored with cyberpunk intrigue, adding an element of mystery and excitement. But what really sets this book apart is the absurdity and lightheartedness that is sprinkled throughout. The book deals with the serious topic of the long-term survival of the human race, yet it also features talking animals imbued with the remnants of digitized consciousness. Talking sloths! Can you imagine? It's a great example of a rich, layered and epic world that doesn't require a bloated trilogy to come alive. The main hurdle to enjoying "Feersum Endjinn" is that one of the characters is written in a phonetic, text message style. Feersum Endjinn = Fearsome Engine. Get it? At first it's a bit weird, but after a couple of chapters I came to love it. It adds a unique charm to the story. At any rate, this has been one of the more enjoyable sci-fi tales I've read in quite a while. I highly recommend it to all fans of the genre.

I am an enormous fan of Banks's Culture novels. (See my blog post on all of them: http://examinedworlds.blogspot.com/20...). I also relished The Algebraist and The Wasp Factory. I truly desired to bestow five stars upon this work, yet despite copious amounts of Banksian brilliance, I cannot assert that it quite attains the level of his other endeavors.

It's not that I disliked this one. The writing is frequently beautiful. The semi-phonetic chapters are as ingenious as they are initially exasperating (you do grow accustomed to it after a while). The story, insofar as I was able to discern, is wild, original, and deliciously complex. The novel unfolds in groups of four chapters, with each chapter following a particular character: a mysterious woman known as the asura (a Sanskrit word for a kind of divine being or demon), a Count on his last lifetime (oh yes, some people are allotted seven lifetimes), a scientist striving to decrypt mysterious messages (and also ensnared in a conspiracy), and everyone's favorite, Bascule the Teller, who is on a quest to locate his friend who is an ant (we peruse his semi-phonetic journal). The book is actually even a touch weirder than I am making it sound, but I have an affinity for the weird.

My principal criticism is that, while it is patently evident that Banks is accomplishing something remarkable here, it is not always entirely lucid precisely what he is doing. Perhaps I am not astute enough, but this is not facile reading. I typically require approximately 100 pages or so to immerse myself in a Banks novel, and Banks always demands a great deal of faith from his readers that he will elucidate everything in the end (and astonish your mind in the process). Feersum Endjinn demanded a great deal of effort from me to engage with, and there is far more explanation than you anticipate receiving, yet I am unable to determine if I am satisfied. Maybe it is a strength of the book that I am unable to decide what I think of it.

Philosophical themes of death and personal identity are present, but not explored with as much profundity as you will encounter in, say, Surface Detail. Given that the plot pertains to humans in the distant future who remain on Earth and maintain a distrust of (some) technology, I surmise that there is a great deal regarding our relationship with technology (this becomes most palpable at the very conclusion, but to disclose more ventures into spoiler territory). Also, the humans who eschewed space travel are all menaced by the Encroachment, a cosmic cloud that threatens to obscure the sun. Should they have departed? Unlike the Culture, this is no space opera, since the entire narrative transpires on a very distant future Earth.

There is a seriously colossal castle, with rooms measured in kilometers. There is this virtual reality realm where time progresses much more rapidly. It occurred to me that the semi-phonetic chapters may be intended to afford the reader the experience of decelerating time - it took me approximately twice as long to read those chapters! What does this imply about our perception of time in terms of experience and communication?

I may need to reread this to apprehend everything (or even the majority of it). It was arduous to pause for philosophical reflection when I was expending so much effort in deciphering the plot, but perhaps that was Banks's intention: the universe itself is so intractable to fathom, maybe we should simply relax and enjoy the journey!

Iain Banks often rotates multiple main characters in his writings, and their stories merge in the end. This is also the case this time. This time, the main roles are the earl Sessine who is dying for the last time, the scientist Gadfium who receives an interesting message, and the young Bascule who is looking for his ant. Also in the equation is Encroachment, the solar eclipse that threatens the whole world, but the powerful don't seem to care about it.

The story is quite complex, and the setting, the huge Serehfan castle, is one of Banks' oddest. In addition to the real world, the events unfold in a crypt, in a strange computer network where the souls of the dead and the quirky artificial intelligences roam.

Feersum Endjinn is thus a rather strange concoction, which, however, finally manages to pull itself together commendably. Despite its thinness, it is a difficult read, thanks to the illiterate Bascule, whose parts are written phonetically. The text has to be read aloud in the worst parts to understand its meaning. As a gimmick, it's funny, but over a longer period, it's tiresome. Nevertheless, it doesn't prevent one from enjoying the book. (10.8.2004)