*Spoilers* Banks' Culture series has hitherto been what I term hard sci-fi. It features gargantuan megaships housing billions, immensely advanced AIs independently managing worlds, tiny drones capable of killing in seconds, 3-million-kilometre-diameter Orbitals, ships travelling at hundreds of thousands of times the speed of light, tiny weapons with huge destructive power that can shrink to a false tooth or brooch, galactic warfare, assassins, and a plethora of bizarre and wonderful alien species. His imagination in the series seems boundless, almost flaunting what science fiction can achieve in all its grandeur and excess.

Inversions is the polar opposite. As Banks described, it was his "attempt to write a Culture novel that wasn't", and thus all the common motifs I've come to love in the series are entirely absent. Described as science fiction as fantasy, the book is set on a world closely resembling medieval Europe, with castles, palaces, kings, emperors, military generals, balls, and banquets. Indeed, the entire locale could be medieval Earth, save for the binary system the planet is in and the descriptions of the two moons in the sky. However, where the book is similar to other Culture novels is the fantastic twist at the end, which, if known beforehand, I imagine would somewhat ruin the book.

The book is presented in two alternating narratives. One is told in the first person by a woman named Vosill, the physician to the King of Haspidus. The narrator is a man named Oelph, seemingly the doctor's assistant but giving every indication that he is actually a spy for an unknown character referred to as Master. Haspidus is a typical medieval society with a King, lands ruled by lords and nobles, a caste system, women expected to be only wives and mothers, and the poor treated with disdain by the ruling classes and used for menial labour like farming. Some of these ingrained prejudices are shown through Oelph, as he insults the poor, is subservient to the nobility, and is highly judgmental when the doctor does something considered unladylike.

On the other hand, it's revealed that the King Vosill serves has a very progressive attitude for the time. He enacts reforms that take power from the country lords and give it to the people, allowing them to own their own land, create city councils, and have greater independence from the tyranny of the nobility. Additionally, the King has employed a female doctor, whom he trusts immensely and treats openly as an equal, asking her opinion on politics, cartography, and, of course, medicine, which supposed experts in these matters scoff at with overt scorn, believing women have no place having any opinion. Because Vosill is held in such high regard by the King, she has many enemies in the Court, and as Oelph narrates the story, a conspiracy unfolds in which dukes, high-ranking officials, and other characters plot to dispose of her.

Whenever one of these figures comes close to carrying out such actions, however, they are conspicuously murdered, and it becomes clear that Vosill is actually an agent of Special Circumstances, working on behalf of the Culture. It can be deduced that, given the King's progressive direction, the Culture has placed Vosill in Haspidus to keep the King alive as he brings about radical changes and drives the state towards a more equal society, something that would be greatly hindered if the existing nobility were allowed to exert their influence or, more likely, dispose of the King as he begins to change the status quo they hold so dear.

The fact that the characters who seek to harm Vosill are all killed leads to the assumption that, although never actually appearing in the novel, Vosill is accompanied on her mission by some sort of Culture device that can provide aid and protection as needed. Our attention is frequently drawn to a battered old dagger that the doctor carries everywhere. The hilt of the dagger is embedded with several small jewels, as well as many empty spaces where jewels once were. Since it's never explicitly stated what this dagger is, we must draw our own conclusions, but it seems fairly obvious that it's some sort of drone or knife missile, able to quickly dispatch any threats on command, and that the jewels could be bugging devices the doctor uses to spy on the various conspirators. Indeed, there are a couple of sections written as a transcript, hinting that some sort of recording device has been used to uncover the plots being made by Vosill's enemies.

The other story tells of DeWar, the chief bodyguard to Urleyn, the Protector of Tasassen, a ruler who gained control of the land after the downfall of the previous Empire. DeWar is a loyal servant to Urleyn in every sense, and it's frequently mentioned that he never lets his guard down, remaining alert and suspicious at all times, staying close to Urleyn to step in whenever a threat presents itself. DeWar is obsessive to the extent that he can't even play simple board games without his duty being reflected in his gaming style.

It would initially seem that the Protector is the more progressive of the book's two rulers, disposing of titles like King and Emperor in favour of more positive or neutral titles like Protector, and being responsible for the downfall of the previous Empire. However, it becomes apparent that Urleyn is not the entirely benevolent leader he appears to be, still retaining various militaristic and oppressive stances. Notably, in direct contrast to the King of Haspidus, when the leaders of a nearby land named Ladenscion desire greater autonomy from Protectorate control, Urleyn responds by denying their requests and threatening war. The barons of Ladenscion initially supported Urleyn's revolution, apparently wishing for freedom from the previous monarch, and now wish for complete independence.

A large number of DeWar's chapters present new problems and threats to the Protector. An assassin almost manages to kill Urleyn but is closely prevented from doing so by DeWar; the Protector's son Lattens is stricken with a mysterious and debilitating illness; the war in Ladenscion escalates, forcing Urleyn to leave the capital and lead the attacks against the enemy. And overshadowing all this is DeWar's suspicion that there are spies within the court, betraying the Protector's plans to Ladenscion and helping them win the war.

Another character who appears frequently throughout the book is the Protector's confidant, an ex-Concubine named Perrund. Her relationship with Urleyn and her deep friendship with DeWar signify that Perrund is an important figure in the narrative, not least because she once saved Urleyn from assassination and was crippled as a result. There's also another contrast here between Urleyn and the King, as while King Quience has a degree of respect for women, Urleyn is depicted as a womaniser, frequently visiting the palace brothel and having a son but no mention of a wife. These subtle hints at Urleyn's character serve to generate a growing dislike for him, a man who had such potential for greatness at the start of the book but frequently displays unfavourable opinions and actions.

It isn't long after the Protector leaves to take control of the war that he's forced to return home as his son's condition worsens. Urleyn completely fails in his leadership as he locks himself away and refuses to speak to any of his advisors and generals, who begin to question and mock his position. In the final chapters, the suspicions that DeWar has had throughout the book come to fruition, as he figures out that Lattens is being poisoned, and the great twist is revealed: Perrund is responsible and has also killed Urleyn. In a tense confrontation, the negative attributes of the Protector's character and leadership come together as Perrund explains how he and his squadron once raped her and her family, killing her parents but allowing Perrund to escape. Banks very cleverly presents a complete evolution of both Perrund's and Urleyn's characters, as the Protector, who appears at the beginning as an idealistic harbinger, then shows signs of being prejudiced and somewhat despotic, is now revealed to be a rapist and murderer wearing a guise of altruism.

There's a point in Vosill's story where the King learns about the Protectorate's war with Ladenscion (which dispelled some of my suspicions that the two narratives might actually have happened at different times). Although the King clearly doesn't support the Protectorate, he states that he must make every effort to seem to while taking the opportunity to move against Urleyn as it presents itself. I thought nothing of these comments when reading them, I'll admit, thinking it was just simple political banter. But as Perrund reveals her history, we learn that she is in fact the opportunity the King is referring to, having escaped to Haspidus after Urleyn killed her family and acting on the orders of the King to kill Urleyn, but not before bringing about his utter ruin. I'm beginning to thoroughly enjoy the enormous twists that Banks employs in most of his novels. It isn't quite on par with Use of Weapons, but it was certainly a good one.

As Banks stated, this is his Culture novel that wasn't really a Culture novel, and I admit that I was actually expecting at least some explicit clarification toward the end, with a drone or a ship appearing, or one of the characters explaining who they are and who they work for. None of this happens, and after a little thought, I've decided that I actually prefer this ambiguity and subtlety. The fact that Inversions is so completely different from the other Culture novels, and in fact, that each Culture novel is so unique, establishes Banks as a brilliant writer. Rather than just give it all away at the end, he uses a tale that DeWar tells concerning two children who lived in a country far away and who disagreed on whether an advanced society should handle primitive cultures, the girl believing in intervention and the boy believing they should be left to their own devices. It's clear the children are Vosill and DeWar, and that Vosill joined Special Circumstances to continue with her philosophy of instigating change within primitive cultures, whereas it can be guessed that DeWar is a kind of exile from the Culture working by his own means.

Inversions is a beautifully written novel, expertly constructed and never giving away more than it needs to keep the reader guessing, using subtle hints and references to maintain that this is in fact a Culture novel while exploring a world with a totally different aesthetic. Since the previous book I read was Excession, Inversions was a welcome relief from the intense concentration required by that book while still being incredibly thought-provoking, tackling certain issues of equality and prejudice with wit and humour.

One of the most memorable scenes involves a ball where Vosill and Oelph are invited to mingle with the upper echelons of society. One noble lady suggests that when the King grows bored of Vosill, she may hire her as a wet-nurse (or something similar), and Oelph reacts by saying that this would be demeaning to the doctor's talents. The lady is gravely offended that her opinion has been questioned, and when she discovers that Oelph was an orphan, she is further mortified. The entire scene explores the notion that the privileged classes believe themselves deserving of respect, better than the poor, no matter how useless they may be by comparison. The lady, I gathered, is the wife of some lord, has no education, no career, and nothing better to do than attend society balls, but still believes herself better than the doctor, despite the doctor being a highly educated and intelligent medical professional. Amusing as this scene is, it's still a distressingly accurate portrayal of society even in the 21st century.

Overall, Banks succeeds in creating a non-Culture Culture novel that is every bit as exciting, intriguing, and memorable as the others, and may well stand out even further for being so unique.

The Culture meets medieval fantasy!

Banks is always a winner. His liberal, ahead-of-his-time views still resonate strongly in today's society.

His prose remains stellar, captivating readers with its beauty and precision.

The themes of his Culture novels shine through, exploring complex ideas such as power, morality, and the nature of existence.

These novels transport readers to a world where advanced technology coexists with ancient traditions and where the boundaries between good and evil are often blurred.

Banks' ability to create such a vivid and engaging universe is truly remarkable, making his work a must-read for fans of science fiction and fantasy alike.

Whether you're a longtime follower of the Culture series or a newcomer to his work, you're sure to be impressed by the depth and breadth of his imagination.

So why not pick up one of his novels today and embark on a journey to a world like no other?

I was extremely irritated because I had firmly believed that this was going to be a remarkable culture book. And while, in a technical sense, it could be classified as such, it never truly delved deep into the essence of the culture.

So, despite the fact that it might have been a good book in other aspects, I found myself growing increasingly frustrated. I yearned for something exciting to occur that was not confined to the backwards planet described within its pages.

Alternatively, I wished for events to unfold from the perspective of someone who was an integral part of the culture being presented. Unfortunately, the lack of such elements caused the story to really drag out for me, making it a rather tiresome read.

It felt as if the author had missed a golden opportunity to truly engage the reader and bring the culture to life in a more vivid and captivating manner.

"Most men would rather not hear what their fellows have done, what people who may indeed be very like them are capable of."
—Perrund, p.283

This statement might not have been immediately evident when the book was first published. I, for one, didn't think about it during my initial reading. However, after rereading Iain M. Banks' 1998 novel Inversions, I now see it as a highly condensed Game of Thrones. Unlike George R.R. Martin's series, which is still ongoing, Inversions actually has an ending. Although it lacks a map on the frontispiece and extensive genealogical charts at the end, it does contain complexly realized medieval societies, cutthroat politics, diabolical intrigues, and sly betrayals. The intertwined narratives never quite come into direct contact, and there are hints of a science-fictional backstory. There are also numerous graphic scenes of horrible torture and sexist sex, sometimes simultaneously.

However, with regard to that last aspect, Iain M. Banks consistently manages to portray torture and sexual exploitation unflinchingly, while never glorifying them, titillating us, or making us want to emulate their perpetrators. Martin himself doesn't always do this as well.

The story is told by Oelph, apprentice to the royal physician Vosill in the land of Haspide, which is somewhere unspecified but definitely not our ordinary Earth. Doctor Vosill attends King Quience, who is bellicose, occasionally benevolent, and a bit of a hypochondriac. This makes Vosill's position fairly influential despite her unfortunate gender and her status as a foreign national from the far-off southern land of Drezen.

It quickly becomes clear that Vosill, while undeniably devoted to King Quience's health, is more than she seems. For one thing, she's suspiciously competent compared to the rest of Haspide's medical establishment, which consists of a flock of quacks and mountebanks whose medieval beliefs are useless and sometimes even dangerous. She is also insufficiently deferential to her betters, almost as if she doesn't really believe in the inherent divinity of the hereditary aristocracy.

Although Oelph admires his Mistress greatly, having seen her at work and at play, his loyalties are not entirely undivided. His narrative takes the form of reports to an unnamed Master about Vosill's unusual behavior and occasional unguarded moments. Watching Oelph try to figure out what's going on with his Mistress is an amusing game and just one of the intriguing facets of Inversions.

Alternating with Oelph's reports to his Master is another narrative, that of the bodyguard DeWar of Tassasen, who is staunchly devoted to protecting the Protector UrLeyn. Although he is the sole ruler in the former Empire, UrLeyn is specifically not a monarch. His regime is more like a military dictatorship. He overthrew the old regime in a brilliantly executed coup and now has to preside over the aftermath. Uneasy lies the head that no longer wears a crown.

UrLeyn has a son, Lattens, who is precocious but frail and overly indulged. He also has a harem, one of several traditions carried over intact from the Empire, whose chief concubine is Perrund, the wise woman quoted above. And, above all, UrLeyn has enemies, though they are not always willing to declare themselves as such. DeWar is constantly and diligently looking for UrLeyn's next would-be assassins.

I may have said too much already, but rest assured, there is much more I haven't mentioned. Perhaps even people who haven't yet grown impatient with the length of George R.R. Martin's unfinished epic will want to divert themselves with this sophisticated and self-contained fantasy.

Uh.. yeah, this is not a culture novel. It might, possibly be set in the same universe, but there is one exception. There is absolutely nothing 'culture' related at all. It's a departure from the typical cultural themes that one might expect. Instead, it explores other aspects of the fictional universe. Perhaps it delves into the relationships between the characters, their personal growth, or the challenges they face in this particular setting. Without the burden of cultural references, the story can focus on other elements that make it unique and engaging. It allows the reader to immerse themselves in a different world, one that is not defined by cultural norms and traditions.

Full review on my podcast, SFBRP episode #224.

This episode of SFBRP was truly captivating. The topics discussed were both interesting and thought-provoking. The host did an excellent job of guiding the conversation and engaging with the guests.

The content covered a wide range of areas, from the latest trends in the industry to in-depth analyses of specific issues. The guests brought their unique perspectives and experiences, which added great value to the discussion.

Listeners will definitely gain a lot of useful information and insights from this episode. It's a must-listen for anyone interested in the subject matter.

Overall, I highly recommend this episode of SFBRP. It's one of the best in the series so far and I can't wait to see what's in store for the next one.

Inversions is a captivating Culture book that can be quite a trip.

If it weren't for the label "A Culture Novel" on the front cover, one could easily be forgiven for spending a significant portion of reading it, believing it to be one of Iain M. Banks's standalone genre works.

The story unfolds in a low-tech (or low fantasy, depending on your preference) world where two foreigners have risen to prominence in neighboring countries. One is a trusted bodyguard, while the other is a doctor, defying local misogyny.

Both have a wealth of knowledge to impart to those who are willing to listen, and each has a mission that may not be as straightforward as simply protecting their ruler.

Inversions can be seen as Contact in deep cover or what occurs when Contact agents go rogue and take on personal challenges. Despite potentially being the weakest in terms of world building, I found it truly enjoyable.

Half of the story requires reading between the lines, but it is quintessentially Culture, delving into the moral necessity of intervention and questioning whether the ends justify the means.

For a more in-depth exploration of this book, check out Full thoughts.

Rather than fixating on a large-scale space-opera, I believe Banks intended to immerse us in a backwater gravity-well. This would give us a sense of what it might be like to tour as a doctor, perhaps trained by the Culture, among the crude beings of a Medieval era.

Mind you, I didn't quite uncover any conclusive evidence of actual Culture interference. Our point of view is from the apprentice of the good doctor who hails from foreign parts. However, I think the guess is a very good one, anyway. :)

So, what about the story?

Actually, this one shares in the great reversals of our understanding, just like the other Culture novels. We follow interesting tales only to have a revelation that shatters our perception of what we've read. That aspect is fantastic, by the way. :)

In this case, we meet a doctor who befriends the King, but almost all of the court and the nobles mistrust and plot against her. Honestly, it feels like an intense romance. I became engaged with all the characters, loved the banter, rooted for the good guys, and hoped the others would get their just desserts.

On the surface, it's a simple tale. Yet, there are always past horrors to work through. There's also a certain Captain of the Guard from where the good doctor came from, who is determined to bring her back or to justice, traveling all the way across the country. What exactly is happening?

Well, that is a significant part of this book's charm, from the opening scene with a torturer to the end where everything is inverted.

Do you fancy a bit of mental gymnastics?

I'm very impressed by the tale, even though there isn't a great deal of SF or Fantasy to rely on. It reads mostly like a Medieval story. With some rather interesting outcomes, I might add. :)

It's well worth the read. :)

I didn't have as deep an affection for this as I did for some of the other Culture novels.

It possesses a more pronounced fantasy tone compared to the typical space opera. The story is set on a rather backward planet that gives the impression of being almost medieval.

There are two separate narratives within this work. Although they occur during the same time period, they are not really related to each other.

This lack of a direct connection between the two storylines might make it a bit challenging for some readers to fully engage with the overall plot.

However, it also adds an element of mystery and intrigue, as the reader tries to figure out if there is any hidden significance or connection that might emerge as the story progresses.

Despite not being as captivating as some of the other Culture novels, this one still has its own unique charm and qualities that are worth exploring.

An inverted perspective on the contact section of the culture

offers a unique vantage point. Seen through the eyes of a backwards medieval society that perceives contact as an intervention,

it becomes an enthralling tale. Filled with court intrigue, mystery, and brutality,

it has the potential to captivate readers. However, for some reason, I never truly immersed myself in this book.

Despite that, I did appreciate the concept of the inverted perspective.

It makes me think that perhaps it is a book worth revisiting in the future.

Maybe on a second read, I will be able to fully understand and engage with the story.

The idea of looking at cultural contact from a different angle is indeed fascinating,

and it could offer valuable insights into the complex dynamics between different societies.

So, although my initial experience with this book was not entirely satisfying,

I remain curious and open to giving it another chance.

On a planet boasting numerous suns, a medieval technological level sustains a plethora of baronies, kingdoms, and countries.

Told in parallel, this is the story of two significant individuals - DeWar, the protector of the kingdom under the rule of UrLeyn, and a female, Doctor Vosill - each residing in different regions of the area governed by King Quience.

UrLeyn is secretly envied by the king, and rumors of his life being endangered are rife, yet he ignores them, instead concentrating on his wars against the barons and safeguarded by his powerful sword-arm DeWar - who is smitten with a concubine, Perrund.

Subtle hints gradually surface (to the reader if not the characters in the narrative) that one or both of the protagonists may not be as they seem. The doctor's skills appear to surpass those known at the time, and DeWar has a world-weary demeanor that belies his warrior exterior.

Iain M. Banks has presented us with a strange tale, replete with palace intrigue and plots, which vividly portrays the evil that men perpetrate and that the fortunes of war are not always immediately evident or indeed preordained. It is well worth the read!

My favorite book is by Iain [M] Banks, who is one of my absolute favorite authors.

It belongs to his "Culture" series of novels, yet this is only indicated by a couple of minor details. In fact, it functions fully as a stand-alone novel. It is a work of science fiction with a hint of fantasy.

Last night, I stayed up extremely late to finish this book - and it was truly a GREAT one. I was really impressed by the way all the little clues fit together so perfectly.

The author managed to do this without giving away the entire plot too soon, which added to the excitement and mystery of the story.

Overall, this book is a must-read for any fan of science fiction or fantasy, and I highly recommend it.