Reading: Suhaiymah Manzoor-Khan — Postcolonial Banter

I cried the first time I saw Suhaiymah Manzoor-Khan read This is not a humanising poem. And every time since. And when I read it just now because I wanted to quote it. Every time since the first I know what’s coming, and I tell myself, “Nah, I’m good, it’s not going to hit me like I remember it did,” I’ve got immunity now, I’ve read it so many times now, so, nah, not this time, silly, not this time. Every time.

Probably Twitter. Probably Omar J. Sakr, probably Charlie Brinkhurst-Cuff. Probably that moment when science-fiction and fantasy had disappointed me again, not having the range, the political, social, personal, religious, aesthetic range, and finding that, so unexpectedly, in poets.

A conversation, outside my local café on Sonnenallee, talking political authors and all:
“D’ya know … ah shit, I forget her name, poet, Muslim, London, The Brown Hijabi?”
“Which one?”
“… ah, no, that’s the name she uses, The Brown Hijabi.”
“… Oh.”
“Yeah, anyway, she’s got a book coming out, forget what it’s called also. You should read it though.”

Postcolonial Banter. It’s her first collection of poetry. I love it. I love her. Alhamdulillah.

 

Reading: Elizabeth Gillespie McRae — Mothers of Massive Resistance: White Women and the Politics of White Supremacy

Pertinent reading for the turn of the decade — the turn of any decade in the last few hundred years. Elizabeth Gillespie McRae’s Mothers of Massive Resistance: White Women and the Politics of White Supremacy came to me from I have no idea where, early last year. My ‘Want to Buy’ list is mad out of control, and taking 18 months for a book to circulate up to getting ordered is quick. I’m presuming it turned up in my RSS feed, or maybe Twitter shortly before I bailed from there.

I play this game when I’m reading histories of racial segregation. It doesn’t have a name, and it’s quite simple. It’s a ‘What if’ game and goes like this: ‘What if my dad or his parents lived there?’ How would or could their lives be shaped and changed by the laws and regulations at that place and that time? What might they be categorised as? I am reminded every time I play how conditional and tenuous ‘race’ is, how arbitrary the race line is, how those tenuous and arbitrary demarcations of where the line falls determine even if they could have married at all. And if they did, and if then my parents could — for the same reasons — the possibilities for life stop with me. White supremacy is, after all, bound at its root with reproductive heteronormativity and the eugenicist-defined ‘health of the White race’.

Around the time I saw the exhibition, Deutscher Kolonialismus: Fragmente Seiner Geschichte Und Gegenwart, and while Germany was (and is) moving through its unfinished history with Namibia, I noticed the burden of proof that genocide had occurred always rested on the victims. Again, conditional, arbitrary. Namibia (then German South-West Africa): genocide; German East Africa: (now Burundi, Rwanda, Tanzania), merely subduing of an uprising. If we accept the fact that the aim of European colonialism was to divide the entire globe amongst itself (clearly seen in its late-19th century form of the Berlin Conference dividing up Africa), we must also agree that two fundamental tools or strategies in that were (and are) race and genocide. Eugen Fischer, who was there in German South-West Africa, later with the Nazis, whose ideology shaped the Nuremberg Laws, said of genocide, “whoever thinks thoroughly the notion of race, can not arrive at a different conclusion”. Wherever colonialism happened, so too did genocide.

And after the Second World War, after anti-colonialist movements, after the collapse of the Soviet Union and the fall of the Iron Curtain, the End of History and all that, we didn’t magically cease to live in a racist, genocidal, white supremacist world. That should have been self-evident before the events of the last few years, and arguing this is again an instance of burden of proof falling on the victims.

While this book deals with a narrow time period and geographical context (primarily 1920s–1960s and the Jim Crow South; broadly the US), nonetheless the role of white, cisgender, heteronormative women in collectively and individually creating, enforcing, and adapting racial segregation is something we’ve seen continuously, around the globe, without pause, right up to the UK election result on Thursday. Whatever racist, colonialist, genocidal (and we’re talking about planetary scale genocide these days) white supremacist fuckery the straight white men who run shit get off on, it’s their women who, in all the little, everyday ways, from home to school to communities to government offices who make it happen.

This wasn’t meant to be a review or compilation of opinions, it’s a Sunday, I haven’t blogged for a while, I have a pile of books that Panda bought (Panda unilaterally does the buying, I get the leftovers, Panda is mad educated), and I’m thinking through a large piece of fiction I’m writing of which books like this are extremely pertinent. It’s the kind of book I say, “Read it if you can, then find and read the comparable books from where you live,” keeping in mind my own global history as a product and result of colonialism.

I love how young trans feminine mob are throwing d…

Status

I love how young trans feminine mob are throwing down ‘transsexual’ these days. Very here for this reclaiming of our word.

Still Reading: Gayatri Chakravorty Spivak — An Aesthetic Education in the Era of Globalization (2nd Attempt)

I swear this book will end me. Six months in and some days I read the first sentences of a paragraph and realise it’s the same paragraph I’ve been on the whole week. And it’s a Sunday. I’m having trouble reading books at the moment anyway. Fiction is out, because I’m in fiction-writing mode and the novels I’ve started are either dissatisfying for where I’m at, or feel like they’d influence my own writing. Non-fiction, well, yes, Gayatri Chakravorty Spivak, we are still shouting, “Fucking yes!” when we do manage to read a new paragraph (usually on the toilet because that seems to be where a balance is currently found), but I have no cash for the pile of non-fiction waiting for me to pick up. Lemme tell you how long-term poverty as a function of even a moderately ok life as a trans woman / trans feminine person / transsexual is a very real life. (I weirdly want to start using that ‘transsexual’ word again to fuck with cis queers and their ‘gender is cultural’ bullshit. Petty is as petty does.)

So, Gayatri Chakravorty Spivak, or First Class Spivak, because someone said she only flies first class, and even if that’s not true, I admire that image of her, and she is so so very first class. I keep reading and wanting to underline and quote, and as I haven’t blogged this month, here we go, one quote at least. from The Double Bind Starts to Kick In, p.108:

This much is at least clear: to imagine or figure the other as another self, you need to engage the moving edge of culture as it leaves its traces in the idiom. To reduce it to language—to semiotic systems that are organised as language—was a structuralist dream. But at least, whatever the subject-position of the structuralist-investigator there was a rigour in the enterprise. Its tempo was different from the impatience of a universalist feminism re-coding global capital. From existing evidence, it is clear that individual-rights or universalist feminists infiltrate the gendering of the global South to recast it hastily into the individual rights model. They simply take for granted that colonised cultures are inevitably patriarchal. I will not enter into historical speculation. I will take shelter in a figure—the figure or topos, that in postcoloniality the past as the unburied dead calls us. This past has not been appropriately mourned, nor been given the rites of the dead, as the other system brought in by colonialism imposed itself. There was no continuous shedding of a past into unmarked modernity.

Reading: Gayatri Chakravorty Spivak — An Aesthetic Education in the Era of Globalization (2nd Attempt)

I started reading this a couple of years ago, which might have already been my second attempt. It’s been giving me disappointed looks from my ‘currently reading’ pile ever since. But, having successfully reminded myself how to read dense theory again, while spending months on Edward Said’s Orientalism earlier this year, I thought it was time to suck it up and get back into Gayatri Chakravorty Spivak’s An Aesthetic Education in the Era of Globalization. The problem is, she’s so fucking brilliant, I’ll read a sentence and spend half an hour just thinking it through.

On that, then, I decided to just quote some of these bangers. Ending the Preface, on page xvi:

Gender is the last word. Figure out the double binds there, simple and forbidding.

Starting the Introduction, page 1:

Globalization takes place only in capital and data. Everything else is damage control.

Next on page 2:

The most pernicious presupposition today is that globalization has happily happened in every aspect of our lives. Globalization can never happen to the sensory equipment of the experiencing being, except insofar as it always was implicit in its vanishing outlines. Only an aesthetic education can continue to prepare us for this […]

Quoting Hanna Arendt on page 3:

“The general future of mankind has nothing to offer individual life, whose only certain future is death.”

Page 4:

We want the public sphere gains and the private sphere constraints of the Enlightenment; yet we must also find something relating to “our own history” to counteract the fact that the Enlightenment came, to colonizer and colonized alike, through colonialism, to support a destructive “free trade,” and that top-down policy breaches of Enlightenment principles are more the rule than exception.

I spent most of breakfast on that page 1 Introduction quote, swearing at its magnificence, meme-ing Where is the lie? tru dat, and that’s the T, and realising it’s gonna take me about 2 years to read this at this pace.

To Move Freely, Again

I have a memory of doing this before, but apparently not for blogging. One of my current readings is Victor Mair’s 1994 translation of Chuang Tzu (Zhuangzi, 莊子, 庄子), Wandering On The Way: Early Taoist Tales and Parables of Chuang Tzu. I have a memory also of not reading this ten years ago, and opting for David Hinton’s 1998 translation, Chuang Tzu: The Inner Chapters, possibly influenced by The Useless Tree in that decision. Hinton’s is far more poetic, and takes liberties with translation; Mair’s, regular contributor on Language Log and professor at University of Pennsylvania, is a deeply academic work, striving to make sense of multiple conflicting requirements, which results in some odd choices, like the neologism, tricent, for li, a third of a mile. Mair, though, is one of my long-term favourite writers on Chinese and East-Asian languages, so, obviously I was eventually going to read this.

There’s a passage in Hinton’s translation that I ended up using on my 404 page, which I originally wrote about after a crawl (for me) and enthusiastic spring (for Gala) up Waterfall Gully in Adelaide, ten years ago. This is the comparison I thought I’d blogged. Maybe it was in an email to someone, or notes for a work I was making at the time. Either way, I remember going on a journey down multiple translations of this passage, and comparing to the original (as in the received ‘original’), and doing my own translation. Which I repeated in an abbreviated manner writing this, because there’s nothing like staring at 2400 year old Classic Chinese on a grey Berlin Sunday.

David Hinton’s translation, Ch. II, §12, pp. 23–24:

Sufficient because sufficient. Insufficient because insufficient. Traveling the Way makes it Tao. Naming things makes them real. Why real? Real because real. Why nonreal? Nonreal because nonreal. So the real is originally there in things, and the sufficient is originally there in things. There’s nothing that is not real, and nothing that is not sufficient.

Hence, the blade of grass and the pillar, the leper and the ravishing [beauty] Hsi Shih, the noble, the snivelling, the disingenuous, the strange – in Tao they all move as one and the same. In difference is the whole, in wholeness is the broken. Once they are neither whole nor broken, all things move freely as one and the same again

Only one who has seen through things understands moving freely as one and the same. In this way, rather than relying on you own distinctions, you dwell in the ordinary. To be ordinary is to be self-reliant; to be self-reliant is to move freely; and to move freely is to arrive. That’s almost it, because to arrive is to be complete. But to be complete without understanding how – that is called Tao.

Victor Mair’s translation, Ch 2, §6, p. 16:

Affirmation lies in our affirming; denial lies in our denying. A way comes into being through our walking upon it; a thing is so because people say it is. Why are things so? They are so because we declare them to be so. Why are things not so? They are not so because we declare them to be not so. All things are possessed of that which we may say is so; all things are possessed by that which we may affirm. There is no thing that is not so; there is no thing that is not affirmable.

Thus, whether it be a tiny blade of grass, or a mighty pillar, a hideous leper or beauteous Hsi Shih, no matter how peculiar or fantastic, through the Way they all become one. To split something up is to create something else; to create something is to destroy something else; But for all things in general, there is neither creation nor destruction, for they all revert to join in Unity.

Only the perceptive understand that all things join in Unity. For this reason, they do not use things themselves but lodge in commonality. … It is all a result of their understanding the mutual dependance of “this” and “that.” To have achieved this understanding but not be conscious of why it is so is called “The Way.”

Mair deleted some passages (the ellipsis here), of which he said, “because they are spurious or because they are later commentaries and other types of interpolations that have been mistakenly incorporated into the text.”

In commonality there is use, a kind of use through joining. To join is to attain, and through suitable attainment, they are close to the Way.

And the Chinese text from James Legge translation in The Writings of Chuang Tzu, 1891:

可乎可,不可乎不可。道行之而成,物謂之而然。惡乎然?然於然。惡乎不然?不然於不然。物固有所然,物固有所可。無物不然,無物不可。

故為是舉莛與楹,厲與西施,恢恑憰怪,道通為一。其分也,成也;其成也,毀也。凡物無成與毀,復通為一。

唯達者知通為一,為是不用而寓諸庸。庸也者,用也;用也者,通也;通也者,得也。適得而幾矣。

因是已。已而不知其然,謂之道。

What I was Reading in August – November

Unmotivated to blog / write about what I’m reading, I didn’t even do an annual Books of The Year thing in October — and I’ve been doing that for ten years. “Life Project” and all (still quoting Emile on that), so … change and shit, I suppose. Still reading though, at a much diminished rate, partly because lack of time and energy and eyes needing a rest. Books have been read and are being read. No particular order.

Miri Song’s Multiracial Parents: Mixed Families, Generational Change, and the Future of Race, ’cos I’m trying to understand myself, my family’s history, and all. You’d think by the time you’re in your forties, you’d have this somewhat nailed, but nope, thanks to family secrets and family aspirations to whiteness, or some shite. Like my middle name never blew that fantasy up.

Charles Stross’ The Labyrinth Index, nth book in a series I’m long over. I keep reading like an old lover whose time has passed and, yeah, Lovecraft mythos is really creaking on its Zimmer frame these days.

JY Yang’s The Descent of Monsters. Very much a favourite author right now. South-East Asia is slaying it in the sci-fi / fantasy lately. I wish these were longer and JY Yang would write more. The so-far trilogy for some reason reminds me of The Water Margin (水滸傳, Shuǐhǔ Zhuàn), which is, I dunno, about as high praise as you can get from me.

Nick Hubble, Esther MacCallum-Stewart, Joseph Norman’s The Science Fiction of Iain M. Banks. Only two references to Feersum Endjinn. I was broadly disappointed. More so because trying to divide Banks’ work up into skffy / non-skiffy, or sci-fi / non-sci-fi, is never going to work (and I’m not even going to start on the glaring errors referring to The Hydrogen Sonata). Ken McLeod’s essay was beautiful.

Ben Aaronovitch’s Lies Sleeping: The Seventh Rivers of London novel. Still holding fast to ‘Harry Potter, a black cop from London estate’. Glad he finally dealt to the Faceless Man, and hope he moves on a bit from this narrative arc (apparently, yes, he is planning to). I’m likely to re-binge this series rather soon, while listing to proper LDN Grime.

Ruth Pearce’s Understanding Trans Health: Discourse, Power and Possibility. Not fun reading. Considering lending to my endocrinologist because he gives a shit but I swear it’s like the last 30 years of ‘progress’ hasn’t happened in Germany. Primarily focussing on the UK and NHS, but I’ve dealt with health systems in several countries around the world (either Euro, or influenced by / aligned with Anglo models), and “Tru dat” was said a lot. Also “Fuck cis people”.

Becky Chambers’ Record of a Spaceborn Few: Wayfarers 3. Reading a lot of series, me. This is the series where nothing much happens, in a rather large universe (of the world-building type, I mean; mostly takes up a small bit of a small bit of a galaxy). I’ll keep reading because for some reason I like the story.

Kevin Martens Wong’s Altered Straits. Currently reading, and had been waiting for this for an age. Trans-dimensional, time-travelling corporeal horror. Once again, South-East Asia, and Singapore bringing it in the sci-fi / fantasy.

Sabine Hossenfelder’s Lost in Math: How Beauty Leads Physics Astray. I’ve been reading her blog for years. I kind of talked back to her a lot while reading, particularly of the, “Well, if you’d read history, and get outside a euro-centric model of science and philosophy, maybe some of these ‘intractable’ problems wouldn’t be there in the first place?” A frustrating like.

Tiffany Trent and Stephanie Burgis’s The Underwater Ballroom Society. Plus for the cover, plus also for Ysabeau S. Wilce, a stack of really good stories, probably going to have to read some of these authors.

Victor Mair’s translation of Wandering on the Way: Early Taoist Tales and Parables of Chuang Tzu. He of the blog Language Log. Also been reading that for years. And I knew he was all about this stuff, but somehow blind spot assisted me in missing this. I like Zhuangzi heaps, my 404 is not complete without.

I also re-read a bunch of other novels, some Iain Banks, and Ann Leckie’s Imperial Radch trilogy for the second time, even better than the first.

Gallery

Koninklijke Musea voor Schone Kunsten van België: Gustaf Wappers — Tafereel van de Septemberdagen 1830

Continuing my blogging of single paintings from Brussels’ Koninklijke Musea voor Schone Kunsten van België / Musées royaux des Beaux-Arts de Belgique, Gustaf Wappers’ massive Tafereel van de Septemberdagen 1830, op de Grote Markt te Brussel takes up one-third of a wall in the main atrium. It’s very Eugène Delacroix in size, composition, and themes, Romantic nationalism meets unnatural, formal arrangement.

I had thought MedievalPOC had Twitted/tumbled this recently, but it was rather John Singleton Copley’s The Death of Major Peirson at the Battle of Jersey (here on Twit, and tumblr) with the Black Scottish auctioneer’s assistant to James Christie front-and-centre doing the business with the flintlock. When I last visited the museum, I blogged Wappers’ painting, but — as is my tendency — it’s kinda under-exposed and dim, and the photos I took last week are far more detailed. As for whether under- or over-exposed or -contrasted, I dunno, this museum has some fucking abysmal lighting, both natural and artificial, and I’m only slightly competent at point-and-click.

So, seeing Twit is shite to search, and it doesn’t seem that MPOC tumbled it, I thought I’d throw this one up, for the shoeless Drummer Boy who’s at the centre of history, keeping one foot dainty on a woman’s dress. Very compositional.

One last thing. The dickwad bro with his shirt open, last person on the right in the foreground light, is totally pushing over a woman carrying a baby with a hearty face shove. No idea what this is supposed to represent or signify, but guy’s spreading all over where the women are, and the third woman (the one lending her dress to Drummer Boy) in this triangle around the other shirtless guy, who’s busy dying, is giving Mr. ’Scuse Me, Bitch, Must Spread a nasty stink eye. So obvs means something, perhaps that the women here are around a hundred years off getting the vote, slightly before Blacks in the Belgian Congo could.

Reading: Iain M. Banks — Surface Detail (3rd time)

One of the number in my partial re-reading of Iain Banks’ (with or without the M.) novels. I read Surface Detail after Whit, when I was trying to find a good follow-on to that quiet, delightful work of beauty. I tried a couple of pages of The Algebraist, but it didn’t quite fit: I needed to stay with his novels where women are at the front.

Surface Detail is one of his later novels, what I think of as his third period, starting with The Algebraist — though as with all attempts at Banksian division, some of his third-period novels aren’t so dissimilar from his second (The Steep Approach to Garbadale, and Stonemouth, belonging more with The Crow Road), but whatever, when I was reading those last four M. novels — Culture novels the lot of time — I thought they formed part of a recognisable evolution and period in his story-telling.

This is one of his heavily, obviously political works, dealing with slavery, racism, rape, and is something of a deeply satisfying revenge fantasy. What happens when a brown woman returns to exact retribution on her enslaver? It’s also another story, like Whit, where Banks deals with religion, selfhood, identity in computational afterlife Hells. What happens when we shut down Hell?

I’m not going to write a 2000-word essay here like I did on Whit or Feersum Endjinn, but maybe to mention one theme I find carried through all his novels, that of the idea of the benign intervention. This is an idea deeply rooted in European colonialism and racism — even within the ethics underpinning the EU and Human Rights, and it’s one Banks chewed over his entire life. When is it permissible to intervene? Should intervention happen at all, or should we just adopt a neutral observer perspective? And this for him is both an abstract thought experiment for an “in play” interstellar civilisation, which can lay at least partial claim to prior neutrality (having no previous involvement in a newly contacted civilisation), as well as for the reality he watched in his lifetime: the invasions of Iraq, the Yugoslav Wars, the effects of colonialism both in former colonies and in the UK.

I don’t have an answer for any of these questions this thought experiment invokes, I’m not sure it’s even possible for us on Earth, with the last 500 years of colonialism and genocide to argue for anything other than a rigorously enforced “stay the fuck out” policy — and yet the very nature of the current “in play” actors means that unless “stay the fuck out” is unequivocally respected by all, it only serves to let a different colonialism in. So I’m left with a novel that manages to adroitly simplify this enough to give a vicarious thrill of revenge, restitution, and a (mostly) happy ending. I wonder if that’s also where Banks ended up, that there are no simple, easy, obvious solutions that don’t ultimately collapse into authoritarianism, and we can only have small victories in isolated instances which nonetheless matter greatly to the people involved.

Reading: Iain Banks — Whit (3rd time)

Continuing my circuitous re-reading of Iain Banks for the nth time. Of his lesser-acclaimed works at that. Whit was a birthday present from Gala in 2007. Coincidently, I bought Whit for myself the same day. So I have two copies. This is the one Gala gave to me. Unlike Feersum Endjinn or The Business, both of which I’ve read near-double figures of times, Whit I’ve only read three, maybe four times. It’s a strange one, possibly aligned with works like The Wasp Factory or Feersum Endjinn, rather than the ‘return home’ novels like Espedair Street, The Steep Approach to Garbadale, or Stonemouth. It occurs to me here that his classic form of these ‘return home’ novels all have a white, cis, hetero male protagonist, and that this genre in Banks’ œvre is the one for which he received the most mainstream, authentic acclaim — whatever acclaim he received for his Culture novels, they’re sci-fi, and in the world of literature, genre is never authentic.

Against those mainstream genre works — which I also love, just not dealing with here — we have the majority of the rest of his works which feature women, sometimes straight, often queer, brown as often as white, and if we’re talking his sci-fi stuff then by today’s language they’re all trans. And yet.

Of course, it could be me. I could be wrong. Always check the equipment for sensor error first.

Says protagonist of The Business (which I’ve also just re-read and have to write about) Kate Telman, shortly after she’d mused, “Maybe they’re both closet misogynists.”

And yet.

My love of Iain Banks, of the critical utopia he proposes in the Culture, of him as a person and what he stood for (diversity, feminism, and hooning!) makes it difficult for me to not find what I’m looking for. It’s there. I read him and I find this. Right down to the Indo-Scottish fusion he himself says (in Raw Spirit) he took to mouth-wateringly hilarious lengths in Whit with haggis pakora and other Indo-Gael cookery (which is a thing, and I would eat it).

I said Whit isn’t a ‘return home’ genre, yet that’s not strictly true. Isis, or The Blessed Very Reverend Gaia-Marie Isis Saraswati Minerva Mirza Whit of Luskentyre, Beloved Elect of God III, has more in common with Asura/Count Sessine from Feersum Endjinn, Lady Sharrow of Against a Dark Background, or Vyr Cossont of The Hydrogen Sonata than Prentice of The Crow Road or Alban of Garbadale, though like them, she uncovers family secrets in her journey away from and return to home. Unlike those latter two, she’s a woman, and as with some of the main characters in Feersum Endjinn, she’s queer, at least bisexual if not more, though highly compartmentalised in her personal desires, describes her close physical relationship with her neighbour as sisterly, and herself as not knowing what or who she wants, if anything. As well, possibly slightly neurodiverse, another aspect of selfhood Banks repeatedly wrote, whether Bascule in Feersum Endjinn, Oramen in Matter, or the mob who make up most of his stories who live with PTSD, depression, and other variations. So here’s the main character of a novel who’s a queer, bisexual, somewhat asexual woman who’s handy working the fields and taking out Nazi skinheads with Tabasco Sauce-filled water pistols. And she’s brown. It’s there in her name: Saraswati, her grandmother a daughter of immigrants to the Hebrides from Khalmakistan, another one of those parallel Earth Himalayan countries like The Business’ Thulahn. (And I said Banks doesn’t really do multiverse, so draw your own conclusions.)

One of those meme-type things that sweeps around Twitter and Tumblr is, “Where did you first see yourself represented in sci-fi / fantasy / art?” I’d never had an answer to that, but now thinking about it, I read Iain Banks because I’m desperate for seeing myself and I find myself, or the possibility of me or what Judith Butler calls a liveable life, not in a single work, but in what he proposes in both Culture and non-Culture works. Indeed, as there’s always such an imperative to divide his work up into these categories, or Iain with or without an M., or sci-fi non-sci-fi, or … and maybe this is the point: there is no division; all his works propose this idea in varying degrees, sometimes more explicit, sometimes less, and sometimes he just wants to hoon an F40.

So I’m wondering if I’m trying to read too much into him, check equipment for sensor error and all, or if what he’s written is even enough.

What I like also is he proposes a kind of interstitial world: not x, but not not-x. Here’s a book written by a self-professed evangelical atheist (who, given how that has become the domain of exactly the kind of braying white hetero men he is so continuously and emphatically against, he might no longer choose that term) who writes a story of religion that understands the impossibility of evidence for faith yet always striving for a consistent logic, and the value of community whether a sect like the Luskentyrians here, Islam, or the Culture. A book of immigrants and children of immigrants who move between religions, sexuality, gender, selfhood in a way that takes all these parts of one’s identity as self-evident and unremarkable, and fundamental to who they are. Besides all that, or along with that, because these are his fundamental themes, Whit is Iain Banks’ attempt to propose faith and religion within a Culture universe. Nothing if not internally consistent logic is our Banks.

I’m writing this very slowly while reading other Banks books. Presently I’m three ahead of this one, having read The Business, followed by Surface Detail, and currently on The Hydrogen Sonata. Something I’ve noticed on this re-reading cycle is how he describes the protagonists. More or less, he doesn’t; it’s a “one and done” process for him in broad, almost meaningless generalities: tall, short, old, young, hair long or shaved or dark or silver; body generally default humanoid which requires little additional detail unlike the aliens who often receive degrees of elaborate descriptions. Skin also: brown, pale, dark. All just enough to fulfil the barest imaginatory requirements. And on this flimsiest of structures he builds the character through what they do and think and say, through how they live in the world, through their own imagination of themselves, alone or with others.

A friend, Justine, said to me — and paraphrasing so wildly here it’s like making things up — that we care for Banks’ characters because the story is about their journey. It’s about what happens to them and how they go often from a state of not knowing to revelation. This was part of a conversation where we were both heavily critical of a novel that is currently receiving plenty of acclaim, Ada Palmer’s Too Like The Lightning, where I can’t even remember the characters’ names, let alone much of what happened to them. Perhaps Banks’ method of writing is more conservative, as in of an older, safer approach. Yet here I am, re-reading his works again, and still finding new depths of critical analysis.

What Banks as an author expects from us as reader is to retain pertinent information for the duration. Pertinent information can frequently be a line here or a word there, and he seldom signals its importance at the time. There’s gradations to this as well, like shells enclosing shells — which is literally the worlds he builds, whether the actual Shellworld of Sursamen in Matter, or the structure of a Culture ship, with layers and nested spheres of habitable space, or that of a ship Mind, or the fastness Serehfa of Feersum Endjinn. As with the recurrence of landscape and architecture like Scotland and its castles so too are there shells. A castle is perhaps the blueprint for this, the keep being the deepest and least visible part, working in layers all the way out to the colossal curtain wall and its placement in geology and landscape. How we move through this as literal space as well as narrative simile can be found perhaps most clearly in Use of Weapons, where two (or more) stories begin from opposite directions and interleave across the course of the book.

Bearing all that in mind, the first, simple physical description is something we’re expected remember, which modifies the character in every instance. It is pertinent information that accrues over time. It is not just a young woman who takes on a some Nazi skinheads, it’s a brown, short-haired, unworldly, queer, androgynous young woman who first tries unsuccessfully to communicate and reason with violent white Nazi skinheads, then tries reading their newspaper to understand them and educate herself, and later, to defend her black and brown crust punk friends, returns looking for trouble and maces the quartet with Tabasco sauce. If you’re familiar with ’70s through ’90s UK (and British colonial) history, BNP and NF skinheads, and just how perilous it was to be visibly different, looking like an ‘immigrant’ or queer or both, reading this scene is terrifying and jubilant.

When I wrote about Feersum Endjinn, I was broadly trying to make a few notes on themes that I was drawn to in Banks’ novels. With Whit those themes seemed to be much clearer to apprehend. As with all Banks novels, there’s multiple stories, so if I focus on one for a moment it’s not at the diminishment of another. After all, he’s writing intersectionality. I read Whit as a story of immigrants, of coming from the colonies or former colonies to the UK, of being on the periphery in both instances, of being the children and descendants of immigrants, of being emphatically of this place and also of elsewhere. This last point is one I’ve been thinking about a lot recently, wondering how to make it succinct. A fundamental precept of nationalism, of ethnic identity as well, is one cannot hold allegiance to two places. It operates on absolutist principles: There is only a finite amount of self to go around. If one is both ‘from here’ and from elsewhere — or as in all British and European colonies, really, originally ‘from here’ — then this can be codified, given a fraction or percentage. It’s inherently racist and demeaning. It informs a jurisprudential position as well as actual law, such as the Half-Cast Acts and other acts that enforced cultural genocide in Australia, Canada, and elsewhere, and means any person who is multiethnic is forever inferior, culturally, physiologically, morally. It is European racism’s greatest philosophical victory that this belief holds strong when the reality is diametrically opposite.

Self is not finite; it is always 100%, and each addition is also 100%. Isis Whit is entirely Scottish (just go and look at where Luskentyre is) and entirely South Asian Khalmakistani. She is not half one, quarter the other; one does not diminish the other, indeed, the opposite is true. Another friend, SJ, also from Australia, I was talking with maybe almost two years ago, probably at the same Alevi café in Kreuzberg, my local favourite. They are the one to change my thinking on this, to understand what is meant when this language is used. In the midst of a long conversation about family and identity, I said something like, “Are you half or quarter Aborigine?” They replied, “Nah, it doesn’t work like that; you either are or you aren’t. Dividing like that is a racist tool. It was and is used by Europeans against Blackfellas.” Again, always poorly paraphrasing here. They continued, “I’m Koori. The colour of my skin doesn’t matter. If I ask to walk onto Koori land, and tell them who I am, and where I’m from, that’s enough: I’m Koori. There’s no half or quarter or whatever; you are or you aren’t.” And what if someone is but doesn’t know their history? You wanna read about the Stolen Generations here.

All this helps explicate how I read Whit and Banks’ interstitial world. I am or I am not. Whether or not I know my history, I am. Whether or not I know my history, it can and has been used against me, and not knowing is not a defence. So, I am, whether or not I want to be. Erasing history and telling people they’re white is a tool of racism working hand in hand with fractionalising. I am still formulating how to talk about this, and make no claims to being anything other than my own history and my archaeology of it. At best I can say I’m the child and grandchild of Muslims in South Africa who may have been Turkish and Afrikaans, and I was named for my grandmother. That’s one side of my family, which as I’ve tried to explain in reading Whit is an entirety, just as the New Zealand side is another entirety, and migrating through the Commonwealth (let’s not pretend dropping the British prefix changes anything) is another.

Back when I was reading Simone Caroti’s The Culture Series of Iain M. Banks: A Critical Introduction, I wrote:

Banks proposes both a kind of Butlerian ‘gender as a useful generalisation’ and Deleuzean ‘as many genders as there are identities’ while on one side resisting collapsing identity to compulsory androgyny and the other validating and celebrating difference.

I want to say he also proposed something similar for the entirety of identity — with a huge bunch of caveats. With regard to ethnic selfhood, he was not proposing a kind of universalism, “we’re all the same deep down, aren’t we,” ‘post-racialism’; nor was he ignorant to or dismissive of the very real situation in Scotland and the UK for anyone not white or British or whatever enough; nor was he trivialising how fundamental ethnic selfhood is or glibly suggesting we try on different ones like fashionable clothes. He was also aware of his position (at least publicly, nominally) as a white, cis, hetero male meant he always wrote from outside the perspective of his protagonists, and the commensurate probability of slipping into Orientalism. If he explicitly stated this at all it was only within the Culture civilisation, where he was already dealing with a critical utopia and the default for human-basic bodies was brown.

For the rest, his non-Culture novels like Feersum Endjinn, or Earth-bound novels like Whit or The Business, this position is absent only if there’s some wilful ignoring of what he’s written going on. It’s always there, and only becomes more clearer and more explicit over the course of his 29 novels. It’s a little like MedievalPOC’s long project of documenting people of colour in the history of European art. After a while, you realise some artists were always doing this, always painting the same people into their work, painting them like they knew them, like that was the world they lived in, like Peter Paul Rubens, or Giovanni Battista Tiepolo.

I was thinking as I thrashed at these last paragraphs, trying to tease out a coherent line of thought, that I’d love to read a story where Isis Whit and Bascule met each other — well, besides the one called Feersum Endjinn where she decides Asura is a good name for herself. I don’t have an ending for this, nor do I think it’s going to get any more coherent or benefit from a reduction in dodginess by more rewriting, so I’ll end with this:

Banks writes for us, writes for me. I am his audience, the not- and not not-. And like Banks intended, sometimes I need to find and see myself explicitly, and sometimes I just want to hoon. And sometimes I want to do both, and for it to be unremarkable.