This is truly spectacular. It delves into huge and terrible themes such as war, loss, revenge, suicide, and suicide bombings, as well as philosophical questions like exile, redemption, and forgiveness. All of this is presented through multiple storylines that span across hundreds of years. The scope is simply HUGE.

There are three things that emerged from Banks's mind that I desperately wish were real: GSVs, drug glands, and Orbitals. The fact that a significant portion of the story takes place on an Orbital made me extremely happy. The geography, the landscapes, and the subway system - I devoured every single bit of the physical description I came across. On the other hand, I wasn't quite as interested in the airspheres with the behemoths, so those sections felt a bit long to me - hence the 4 (.5) stars.

This time around, the AIs, although present, fade into the background behind the towering humanoid characters. Kabe is magnificent, Ziller is brilliant, and Quilan is heartbreaking. The philosophical debates between Kabe and Ziller, in particular, are an absolute delight to witness. I'm going to quote a short passage for my own amusement:

Ziller was staring at him. 'Are you saying the sun could explode?'
'Well, sort of, in theory. It's a very--'
'You're not serious!'
'Of course I am. The chances are--'
'They never told me that!'
'Actually, it wouldn't really blow up as such, but it might flare--'
'It does flare! I've seen its flares!'
'Yes. Pretty, aren't they?'

:) And this isn't even one of their major debates, just a small thing that made me laugh. It might not have the same effect out of context, but I don't care.

If you haven't read this yet, do so. You will laugh. You might even shed a tear or two. (I did.) You will gaze into space, lost in wonder, hoping against hope that someone, somewhere has constructed such marvels and will invite you along for a visit.

An astounding piece of anti-war space opera

When idiots suggest that speculative fiction has no purpose or literary value, this is the sort of book you should hit them with. Once you have sharpened the edges accordingly. Reading it now, as flat-out mass murder continues in Gaza, the messages Banks delivers are even more sobering.

This space opera is truly a remarkable work. It takes readers on a journey through a fictional universe filled with political intrigue, complex characters, and thought-provoking themes. The author's vivid descriptions and engaging storytelling make it easy to lose oneself in the pages of this book.

One of the most powerful aspects of this novel is its anti-war message. In a world where conflict and violence seem to be ever-present, the book serves as a reminder of the human cost of war. It shows the destruction and suffering that war brings, and the importance of working towards peace and understanding.

Overall, this is a must-read book for anyone interested in science fiction, politics, or the human condition. It is a powerful and moving work that will stay with you long after you have finished reading.

Storyline: 3/5
Characters: 3/5
Writing Style: 3/5
World: 4/5

At this stage of the series, even a Culture book of average quality manages to gain an increase in goodwill and esteem for the Culture decalogy. Consequently, the series as a whole continues to improve with each new installment. However, in the case of "Look to Windward", it is not just an average-quality book. It is a better-than-average science fiction book and also a better-than-average Culture book.

Banks, to my great satisfaction, returns more to science fiction and worldbuilding in this volume. He continues to do so many things right that he has been doing right all along: addressing big social and political questions, presenting inventive technology, creating wildly creative environments, pacing reveals and developments effectively, and constructing well-designed puzzles. There are also elements that I believe Banks is consistently weak in: otherness, depth, and convincing character development. The books, considering their breadth, come across as insufficiently deep. Additionally, when they are supposed to be alien, they seem overly familiar, and the characters, given the word count Banks devotes to them, only generate a mild connection. Nevertheless, these are largely minor considerations compared to the many positives of this book and the series in general. This book, in particular, has the best worldbuilding since "Player of Games" but also struggles more with the plot than is typical. It is not my favorite Culture book, but it does rank in the top half.

Brad: If you were a GSV (General Systems Vehicle), what would you call yourself?

Brad: Sit Right Back and You'll Hear a Tale

Brad: If you were a GCV (General Contact Vehicle), what would you call yourself?

Brad: Inoculate by Means of Blankets

Brad: If you were a GOV (General Offensive Unit), what would you call yourself?

Brad: Process of Peace and Reconciliation

Brad: If you were a VFP (Very Fast Picket), what would you call yourself?

Brad: Cerebrovascular Accident

Brad: If you were an Orbital, what would you call yourself?

Brad: S'qulett Orbital, so why are you asking me what I'd call myself?

Brad: Because you can't review this book. It exhausted you, and there is too much to say.

Brad: It made me cry.

Brad: It did. Why give it four stars? Why not five? You love this book.

Brad: I do.

Brad: So why?

Brad: Because of all the Culture books it is the least accessible.

Brad: I thought it was accessible.

Brad: But you've read the preceding Culture books.

Brad: You have.

Brad: Okay, I have, but this book was written for people who've read the preceding books. It is not a book one can come to without knowledge.

Brad: Why is that a problem?

Brad: It's not, but I feel compelled --

Brad: --To what?! Criticize a book because it's not for everyone.

Brad: Something like that.

Brad: Cause it is for everyone if they do the work to get here.

Brad: I'd rather just keep this book for Mark and me.

Brad: Impossible.

Brad: If only I could gland you into silence.

Brad: Will wine do?

Brad: It'll have to.

Brad: Say g'night, Cerebrovascular Accident.

Brad: G'night, Cerebrovascular Accident.

In this conversation, Brad poses a series of questions about what one would name themselves if they were different types of vehicles or units. He also delves into a discussion about a book, specifically a Culture book. Brad expresses that he loves the book but gives it only four stars instead of five because he believes it is the least accessible of the Culture books. He argues that it is written for those who have already read the preceding books and requires prior knowledge. However, Brad also concedes that if people are willing to do the work to understand it, the book can be for everyone. The conversation ends with Brad playfully suggesting that he wishes he could silence the other person and then settling for wine as a substitute. Overall, it is a lively and thought-provoking exchange about naming, book reviews, and accessibility.

3.5 stars.

I initially didn't have a favorable impression of the first novel in this series. However, this installment truly captivated me. It does require some time to fully understand and engage with the characters. The plot mainly revolves around Quilan, a Chelgrian, who is tasked with the mission of killing a Hub. The gradual and beautiful unfurling of this central plot is one of the book's strengths.

The reasoning behind this turn of events is also excellent. It delves into the aftermath of a war, in which Quilan lost his wife. Additionally, Quilan's journey seems to parallel that of the Hub, which had lost its twin in another battle years ago. This book masterfully explores the themes of losing loved ones and the various stages of grief.

I also adored the portrayal of the Culture. The quoted passage about the Culture's attitude towards travel felt highly relevant in today's world, as I know numerous people who are passionate about traveling.

The epilogue was an interesting addition. It tangentially addressed the Culture's cultural imperialism and revealed that Huxler and Kabe were Culture agents. However, I didn't quite grasp the significance of Uagen Zlepe's plotline. Was it intended to convey that, on a grand scale, even the Culture and the Chelgrian will eventually disappear, suggesting that their struggles are ultimately meaningless? This is an idea that Ziller's symphony also seems to touch upon, as it celebrates a battle that occurred thousands of years ago.

Overall, this was a great book that I thoroughly enjoyed.

One of my absolute favourites!

I think I've now truly come to the realisation that numerous scenes in Banks' books are rather inconsequential when it comes to the plot. They seem to be just there to vividly describe this enormous and intricate universe that he has envisioned.

At times, this can potentially be boring or even confusing. However, I firmly believe that it worked amazingly well in this particular book.

Here, you get the opportunity to learn more comprehensively about The Culture and the ever-present and thought-provoking theme of interventionism. The question that lingers is: what are the consequences when a technologically superior civilisation meddles in the affairs of their lesser beings?

It makes you ponder and reflects on the complex dynamics that could exist in such a scenario, adding a layer of depth and intrigue to the entire narrative.

I have a bit of an issue with the main backstory premise of the book.

The spoiler reveals a lot of details that are gradually disclosed throughout the story.

So, the Culture is held responsible for the caste civil war. They influenced politics, causing a caste-ending politician to become president, which led to the gradual but nearly complete destruction of the caste system. Then, for some reason, just as the caste system was almost abolished, the former lower castes suddenly tried to kill the higher castes. One of the species members suggests it was "natural" because they're a "predator species." However, it turns out that the two sides immediately made peace when they discovered the Culture's influence. The only reason the Culture is considered responsible is because they bribed parliamentarians to vote for this president. The sudden civil war was apparently entirely started by the Chelgrians, based on some sort of inevitability and their own plans.

So, like 1) In what way is it the Culture's responsibility? 2) Why is the end of the caste system presented as inevitably resulting in terrible violence worse than the caste system itself?

I don't want to be too critical, saying "this doesn't follow my communist morality, so it's bad," but it does seem like a strange moral tale. The oppressed becoming extremely violent suddenly for no good reason and it being considered the wrong thing to have helped them feels odd. But even if we accept this, it seems strange to blame the Culture when a significant portion of the population immediately took to it. Although the Culture influenced things to some extent, it seems that if the caste-enders had come to power "naturally," the same thing would have happened. If the politicians or a decent number of the population had a serious investment in the caste system, they could have easily stopped things from getting that far in the first place (although that would be morally bizarre). So, if there were no Culture intervention at all, either 1) the same thing would have happened, possibly over a longer timescale, given the widespread agreement on what was done until the war and no major pushback, or 2) the caste supporters would have objected, taken a stronger position, and probably catalyzed a civil war anyway, which would likely have been just as bloody, except with the oppressed castes in a much weaker position.

Of course, I'm being a bit silly to a certain extent. Obviously, it's fiction, with a specific setup, and it's not exactly pushing a simplistic "oppressed people are bad for resisting" idea. It's an attempt to create a good moral dilemma, and if it's a moral dilemma, there's no starting position that will completely satisfy me because it will always be unpleasant in some way! I mean, as a general opponent of most "intervention" in real life, it's kind of weird for me to be defending the Culture in the book, even if it's not really like real interventions - we "know" the Culture is far more "good" than any state in real life, even with the bad things it does sometimes. The Chelgrian intervention also had very little benefit to them - in real life, the bad consequences are often due to continued oppression to benefit those who intervened.

But I think it's nearly impossible to create a scenario close to real life in the Culture universe. I definitely appreciate the effort and think the author did a great job - the fact that I'm writing all these words about it is a good indication that I think what he's written is worth serious consideration. It's a great thing to try and write a book about intervention like this - even if I don't think the premise is perfect, it's good to talk about the problems and consequences of "humanitarian intervention," even with seemingly "perfect" societies.

Although I did feel that the civil war was intended to evoke memories of the Rwandan genocide, which seems a bit dodgy?

The book is good in general. It's full of descriptions of the Orbital, which are amazing, although I'm not good at picturing things from descriptions. If you're better at that than me, you'll probably like it even more. The truly alien environment of the airsphere was also great to read about. The ending is good - I did think (ending spoiler) that the wormholes would have been planted by people from the Culture, but I thought it was because they truly believed the Culture deserved revenge for what happened... ah well. Anyway, yeah, it's good.

The late Iain M. Banks was a remarkable science fiction writer. His works, especially those in the Culture series, are known for their complexity and depth.

Was that the sort of behavior one ought to expect from a mature society? Mortality as a life-style choice?
—Look to Windward, p.10

Banks didn't have the choice of mortality as a lifestyle, but then again, no one claims our society is mature.

The first time I read Look to Windward was in the early Aughts. Banks' science fiction can be slippery, and the details don't stick in my mind as well as those of other writers. But with Banks no longer with us, I was glad to be reminded to reread this novel.

Look to Windward is a Culture novel. If you're new to the Culture series, this might not be the best place to start. Each Culture novel stands alone, but there are more introductory entry points.

However, if you want to dive right into Look to Windward, go for it. It's a great book, with a complex plot and interesting characters.

The central character is Mahrai Ziller, a Chelgrian composer in self-imposed exile. Another Chelgrian, Quilan, has been sent to persuade Ziller to return. There's also a major anniversary coming up, and Ziller has been commissioned to compose a symphony.

What makes the Culture so special? It's not just the technology or worldbuilding. It's the hope that Banks portrays, the hope that there's a way to a better society. The Culture always strives for wisdom, even if it fails. That's why we keep coming back to Banks' works.

One piece of writing advice that has always remained firmly in my mind is Ursula K. Le Guin’s perspective on conflict. In simple terms, she defied the orthodox view that every story must have conflict within it. I find myself reflecting on this as I consider “Look to Windward” and, in fact, Iain M. Banks’ Culture series as a whole. Banks once again demonstrates his remarkable skill in crafting interesting utopias.

The majority of this book is set on Masaq’ Orbital. Mahrai Ziller has been living in self-imposed exile within the Culture for decades. An emissary from his people, the Chelgrians, arrives with the intention of convincing Ziller to return home. An outcast due to his rejection of the Chelgrian caste structure, Ziller desires nothing less. He has dedicated himself to composing an emotional piece for the AI Hub of Masaq’ to commemorate the end of a war between his people and the Culture. Meanwhile, we also gain more insights into the Chelgrian emissary, his past, and his involvement in that war. Gradually, we discover that there is a plot underway, something far more menacing and destructive than simply persuading one exile to return to his homeland.

I want to state that if you have previously encountered the Culture, then much of this book may seem familiar to you—but that isn't entirely accurate, is it? The Culture is not a familiar entity, despite its trappings being similar to those of humanity. It is a chaotic combination of utopianism, hedonism, post-scarcity economics, and indulgent solipsistic philosophizing. The more one learns about the Culture, the more peculiar it feels. No wonder Banks often presents us with outsiders as interlocutors—in this case, Kabe, the Homomdan ambassador to Masaq’ Orbital. Through Kabe’s perspective, we have a more selective filter on the insanity that makes the Culture function.

And it does function, for that is the fundamental point of this book. The conflict, at its core, is not much of a conflict. For the first two-thirds of the novel, the final threat is hinted at rather weakly, with almost no explanation regarding its true nature. In the final act, as soon as the threat materializes, it is dispatched with almost no fanfare. The Culture is simply that powerful, and that is the point: almost nothing can challenge it, but is that a good thing?

At the heart of this book lies the question of how we reconcile who we are now with who we used to be. For there is not much conflict in the main part of this book, but there is a history of conflict within its pages. There are many characters in “Look to Windward” who committed terrible acts in the past. The Hub of Masaq’ Orbital, although a minor character, played a role in the Chelgrian war and is closely connected to the events leading up to the climax of the novel, as is the Chelgrian emissary whose arrival sets everything in motion. The Culture’s utopian outlook sometimes means endorsing violence. Is this compatible with morality as we lowly humans understand it?

As always, it is a delight to spend time in the universe of the Culture novels. Banks is such a captivating science-fiction author: filled with technological concepts of AI, nanotechnology, and faster-than-light drives, yet, at the same time, relegating all those to the background so that he can focus on profound, enduring emotional questions. Can we let go of our past mistakes and how others have wronged us? Is it acceptable to forgive? How do we move forward when we have lost so much?

Science fiction is at its finest when it places us in environments that feel both familiar and unfamiliar simultaneously. Banks is one of the best at achieving this. I don't enjoy every installment equally—indeed, given the many years over which I have read these novels, it is difficult for me to rank them or even compare them. But I always find value in them, and I am always left changed (hopefully for the better) by the experience.

Originally posted on Kara.Reviews, where you can easily browse all my reviews.

  

Banks dedicated this to Gulf War veterans and I can see why.

Culture novels vary tremendously regarding themes, plots, characters, and more. The only real link is that they are set in the same universe. Here, Banks takes us on a philosophical journey involving war, suicide bombers, grief, resilience, love, and duty, saturated with a melancholy prose and plot. It's quite a ride!

Largely set on the gigantic Orbital Masaq', Banks starts Look To Windward with a war zone and a couple trapped in a bomb crater. The couple are Chels, furry alien critters who lived in a strict caste-bound society for thousands of years. The Culture, via Special Circumstances, helped elect a reform party to erode the caste system, but the result was a bloody civil war as the downtrodden castes sought revenge. Billions died. Quilan, introduced in the prologue crater scene, survived while his wife died. Beset with grief, he moved to a monastery. Meanwhile, Ziller, a famous Chel composer, left the Chel realm before the war, renouncing the caste system and his entire society. He now lives on Masaq'.

The Mind in charge of Masaq' induces Ziller to compose a symphony to honor the last major war the Culture engaged in, hundreds of years ago. In that war, several stars were exploded, killing billions, and the light of their destruction will reach Masaq' soon. Ziller's symphony will be performed on Masaq' right when the light from the Nova appears, as a homage to the war and the dead.

Enough of the plot. I stated that Look to Windward constitutes a philosophical turn for Banks, surrounding the idea of war and focusing on the survivors. Chel society is tragic here; the reforms led to a devastating civil war. The Culture's war with the Idrians cost billions of lives. Most excellent war novels are antiwar, and Look to Windward fits this genre. RIP Banks, you are surely missed. 4.5 stars, rounding up!

This book is perhaps my favorite among the culture novels I have read so far. It truly deserves a perfect score of 10/10 with no notes.

The story is rich and engaging, taking the reader on a captivating journey through different cultures and experiences.

The author's writing style is vivid and descriptive, painting a detailed picture in the reader's mind.

Each character is well-developed, with their own unique personalities and motives.

The plot is full of twists and turns, keeping the reader on the edge of their seat from start to finish.

Overall, this is an outstanding novel that I would highly recommend to anyone interested in culture and literature.

Look no further if you're seeking a captivating tale filled with fantastically huge sources and consequences of regret, suicide, the negation of life-affirmation, exploding suns, and excellent stories of love between non-humanoid sentients and nearly god-like Minds.

This is a Culture novel. Ian M. Banks had ten of them before his untimely death. Strangely enough, he's renowned equally for his hard SF as for his standard fiction.

It truly shows in this one. I must admit that I was deeply impressed by the technological marvels unfolding within this novel. Even the evacuation of three enormous orbitals in preparation to eliminate the world-spanning AI Minds, despite being a memory from 800 years past, was both shocking and highly disturbing.

The rest of the novel, as a whole, might have benefited from some tightening. However, in general, I adored being on the planet that would celebrate survival and a symphony just as the light of a few novas finally reached their star system, commemorating the end of an enormously costly conflict between themselves and the Culture as it finally caught up to them at light-speed.

But what about the plot? It's all about suicide missions, my friends, on both sides. Do you really believe that such conflicts conclude so easily and peacefully? Motivations are complex, and hate runs deep. Perhaps not on the Culture's side, of course. They're pretty much above or beyond such petty matters, even when the death toll reaches the billions. After all, they have a significantly larger population to consider.

But as for the other high-tech civilizations that still think highly of themselves when they count their age in mere thousands of years instead of complete revolutions of the galaxy, by hundreds of thousands of years? Well, they tend to be outclassed and out-thought by these nearly god-like AIs dedicated to ensuring the happiness of all the citizens of the Culture.

Of course, that doesn't prevent grand gestures from ruining everyone's day.

This is a rather astonishingly impressive novel on multiple levels, marking a significant return to vast scopes in the series. However, unfortunately, some aspects still dragged a bit.

But I really didn't mind when the emotions started to grip me. :)