Gallery

The Cars of Iain Banks: The Crow Road

This turned out to be slightly more involved than anticipated. I should have known: Iain Banks is always in the details. Until starting this — and I’m still reading The Crow Road, for the maybe 3rd time — I hadn’t realised how fundamentally cars and vehicles form characters in his novels, much as landscape does, and if the landscape is up the Scottish end of town, the cars are solidly British, with rare excursions to various four-wheeled hoonage from across Europe.

I haven’t really decided how to do this, making it up as I go along, I thought to include the sentence where the car was named enough to make an educated guess at, which sometimes turned into multiple lines. Published in 1992, The Crow Road is set late–’89 to late–’90, at its most current period, with narratives in a number of periods back to just post–war. I’ve tried to match cars to the periods they were mentioned in, so no car is newer than end–’80s, and ‘old’ is 15–20 years minimum, relative to the scene’s time period. I discovered just how specific Banks was in choosing the ensemble of cars (2/3 of the way through and at least 27) when I was looking for an image of a Metro — Austin, MG, Rover, it got passed around — and found there was a period when it had no marque, it was just Metro. That’s the one he was talking about. And the Peugeot 209 isn’t, so either that’s an error, or this is Banks subtly trolling his Scottish alternate / coexisting realities again, like in Whit or The Business. In this reality, probably a 205.

And thank you to Wikipedia, Wikimedia Commons, and all the contributors, editors, photographers who enlightened and educated me, and provided the images for this banger collection of whips here.

That’s enough. Here are the cars of Iain Banks’ The Crow Road.

Instead I’d sold Fraud Siesta, my Car.

The Cars of Iain Banks: The Crow Road — Ford Fiesta Mk1, 1976–1983
The Cars of Iain Banks: The Crow Road — Ford Fiesta Mk1, 1976–1983

‘Lagonda.’
‘Sorry, Gran?’
‘The car; it’s a Lagona Rapide Saloon’
‘Yes,’ I said, smiling a little ruefully to myself. ‘Yes, I know’

The Cars of Iain Banks: The Crow Road — Lagonda Rapide Saloon, 1961–1964
The Cars of Iain Banks: The Crow Road — Lagonda Rapide Saloon, 1961–1964

The car came screaming up the crematorium drive, leaves swirling into the air behind. It was a green Rover, and had to be doing sixty.

The Cars of Iain Banks: The Crow Road — Rover 216 SD3, 1985–1987
The Cars of Iain Banks: The Crow Road — Rover 216 SD3, 1985–1987

Everybody in the crowd outside the crematorium was watching the green 216 as it skidded to a stop, avoiding a head-on collision with the Urvill’s Bentley Eight by only a few centimetres.

The Cars of Iain Banks: The Crow Road — Bentley Eight, 1989
The Cars of Iain Banks: The Crow Road — Bentley Eight, 1989

The big Super Snipe growled into the car park, heeling as it turned and stopping with the passenger’s door opposite Kennith.

The Cars of Iain Banks: The Crow Road — Humber Super Snipe Series IV, 1964
The Cars of Iain Banks: The Crow Road — Humber Super Snipe Series IV, 1964

‘Anyway, couldn’t we take the Rover?’ Kenneth wasn’t keen on the Morgan; its stiff ride hurt his back and gave him a headache, and Fergus drove too fast in the ancient open-top. Maybe it was the sight of all that British Racing Green paint and the leather strap across the bonnet. The Rover, 3.5 though it was, seemed to calm Fergus a little.

The upholstery of Fergus’s Rover was cleansed of the debris and stains associated with Verity’s birth and the car continued to serve the Urvill family for another five years or so until 1975, when it was traded in (for what Prentice thereafter would maintain was a scandalously small sum, considering that the thing ought to have been preserved as some sort of internationally-recognised shrine to Beauty) for an Aston Martin DB6.

The Cars of Iain Banks: The Crow Road — Aston Martin DB6, Mk1, 1967
The Cars of Iain Banks: The Crow Road — Aston Martin DB6, Mk1, 1967

“We got into the Fiesta; she dumped the brolly in the back.”

The Cars of Iain Banks: The Crow Road — Ford Fiesta Mk2, 1983–1989
The Cars of Iain Banks: The Crow Road — Ford Fiesta Mk2, 1983–1989

I kind of wished I’d sat behind Verity; I wouldn’t have seen so much of her – not even a hint of that slim, smooth face, frowning in concentration as she barrelled the big black Beemer towards the next corner – but I wouldn’t have been able to see the speedometer either.

The Cars of Iain Banks: The Crow Road — BMW 7 Series 735i E23, 1985
The Cars of Iain Banks: The Crow Road — BMW 7 Series 735i E23, 1985

Verity wiggled her bottom, plonked it back down, calmly braked and shifted up to fifth, dawdling along behind the green Parceline truck while she waited for it to overtake an Esso tanker.

Her battered, motley-panelled 2CV had looked out of place in Ascot Square, where I think that anything less than a two-year old Golf GTi, Peugeot 209 or Renault 5 was considered to be only just above banger status, even as a third car, let alone a second.

‘I play games’, she told me.
‘Oh yeah?’
‘Yeah,’ she nodded, licking her lips, ‘Like Name That Tail-Light.’
‘What?’ I laughed
‘True,’ she said. ‘See that car up ahead?’
I looked at the two red lights. ‘Yeah.’
‘See how high up the lights are, not too far apart?’
‘Yo.’
‘Renault 5’
‘No Kidding!’
‘Mm-hmm. One it’s overtaking?’
‘Yeah?’
‘Horizontally divided lights; that’s an old Cortina, mark 3.’
‘Good grief.’
‘Here’s a Beemer. New five series … I think, about to pass us; should have lights that slant in slightly at the bottom. ’

Verity Walker, clad in a short black dress, was dancing sinuously on the roof of Uncle Fergus’ Range Rover.

The Cars of Iain Banks: The Crow Road — Range Rover Classic, 1987
The Cars of Iain Banks: The Crow Road — Range Rover Classic, 1987

‘Ha!’ Prentice said, as the battered Cortina II drew to a stop just past them.

The Cars of Iain Banks: The Crow Road — Ford Cortina 1300 Mark II, 1966
The Cars of Iain Banks: The Crow Road — Ford Cortina 1300 Mark II, 1966

He helped Fergus drag the small corpse down the slope to the track, where the Land Rover was parked, and accepted a lift back to the road.

The Cars of Iain Banks: The Crow Road — Land Rover Series II, 1958
The Cars of Iain Banks: The Crow Road — Land Rover Series II, 1958

An hour or so later I saw my mother’s green Metro, just about to turn out of the drive-way of Hamish and Tone’s house.

The Cars of Iain Banks: The Crow Road — (Austin) Metro, 1988
The Cars of Iain Banks: The Crow Road — (Austin) Metro, 1988

‘Na,’ he said. The Volvo estate accelerated down the straight through the forest towards Port Ann. ‘Though maggoty meat and people with one eye did come into it at one point.’

The Cars of Iain Banks: The Crow Road — Volvo 245DL Estate, 1977
The Cars of Iain Banks: The Crow Road — Volvo 245DL Estate, 1977

Fiona brought the Rover to a halt behind a beaten-up Mini, standing on the gravel in front of the castle’s main entrance.

The Cars of Iain Banks: The Crow Road — British Leyland Mini Mark III, 1970
The Cars of Iain Banks: The Crow Road — British Leyland Mini Mark III, 1970

‘Isn’t that Fergus?’ he said, nodding.
‘Where?’
‘Racing green Jag, heading north.’
‘Is that what Ferg’s driving these days?’ Rory said, rising up in his seat a little to watch the car pass.

The Cars of Iain Banks: The Crow Road — Jaguar XJS HE, 1989
The Cars of Iain Banks: The Crow Road — Jaguar XJS HE, 1989

I’ve always had this fantasy, that, after uncle Rory borrowed his flat-mate Andy’s motorbike and headed off into the sunset, he crashed somewhere, maybe coming down to Gallanach; came off the road and fell down some gully nobody’s looked into for the last ten years, or – rather more likely, I suppose – crashed into the water, and there’s a Suzuki 185 GT lying just under the waves of Lock Lomond, or Loch Long, or Loch Fyne, its rider somehow entangled in it, reduced by now to a skeleton in borrowed leathers, somewhere underwater, perhaps between here and Glasgow; and we all pass it every time we make the journey, maybe only a few tens of metres away from him, and very probably will never know.

The Cars of Iain Banks: The Crow Road — Suzuki GT185, 1973–1978
The Cars of Iain Banks: The Crow Road — Suzuki GT185, 1973–1978

One of my pals — graduated, employed, moving on to better things — sold me his old VW Golf, and I drove down to Lochgair most weekends, usually on a Thursday night as I didn’t have any classes on a Friday.

The Cars of Iain Banks: The Crow Road — Volkswagen Golf Mk1, 1974–1983
The Cars of Iain Banks: The Crow Road — Volkswagen Golf Mk1, 1974–1983

We took Lewis and Verity’s new soft-top XR3i — roof down, heater up full — out into the grey-pink dawn and drove through Lochgilphead and then into Gallanach and just cruised about the town, waving at the people still walking about the place and shouting Happy New Year! one and all.

The Cars of Iain Banks: The Crow Road — Ford Escort Mk4 XR3i Cabriolet, 1990
The Cars of Iain Banks: The Crow Road — Ford Escort Mk4 XR3i Cabriolet, 1990

I parked the Golf behind a Bristol Brigand which sat half on the gravel and half on the grass.

The Cars of Iain Banks: The Crow Road — Bristol Type 603 S3 Brigand 1982–1994
The Cars of Iain Banks: The Crow Road — Bristol Type 603 S3 Brigand 1982–1994

Altogether now.

The Cars of Iain Banks: The Crow Road
The Cars of Iain Banks: The Crow Road

Gallery

The Cars of Iain Banks

“What if, Frances, what if we were to read all Iain Banks’ novels again—”
“Again? Like for the 6th time? All of them?”
“Nah, just the ones set on Earth—”
“So the ones without the M.?”
“Right, and we were to—”
“Except for Transition, ’cos that was an M. one in the States, but set on Earth. A bit. And a non-M. one everywhere else.”
“Yeah, but primarily the—”
“Also The State of the Art. That’s also an M. one, and Culture. And on Earth. What about Raw Spirit? And Poems?”
“W—”
“’Cos Raw Spirit is basically Complicity but real. With hooning and whisky; hooning for whisky. But no poetically deserved death.”
“Definitely Raw Spirit. Starting with The Crow Road—”
“We’re reading that now!”
“Y—”
“It’s not as good as The Steep Approach to Garbadale is it?”
“They all have cars though.”
“Iain was a hoon.”
“Exactly.”
“Until he wasn’t.”
“So what if we did a post of each novel, of just the cars!”
“Kinda like how we were going to do a post of each episode of Blake’s 7 of just the costumes?”
“…”
“Sounds great! Does this mean we’ll sit in front of our laptop and try to divine what each make and model of car is? For hours and hours?”
“Yeah!”
“This gonna be one of those ‘What happens if I … ?’ that turns into ‘Well, seemed like a good idea at the time’ things, innit?”
“As in ‘What happens if I blog all the cars of Iain Banks’ novels oh God this turned into so much work what have I gotten us into am I even having fun anymore why did I decide to do this again well it seemed like a good idea at the time?’”
“Yup, that.”
“Track record points to yes!”
“OMG count me in!”
“We’re so good together!”
“I know, right! When do we start?”
“We already have!”

Reading: Iain M. Banks — Against a Dark Background (4th-ish Time)

One of the very first Iain M. Banks novels I read (I think Consider Phlebas or Excession was the first), in Naarm (Melbourne) around 2004. That edition had the cover with the Sharrow’s Monowheel on the cover, probably my favourite series of Banks’ cover artwork, that edition; this one has the burning reds and oranges of the ships of Log Jam city. Against a Dark Background is the second novel Banks wrote, or drafted, after Use of Weapons, around 17 years before it was published in 1993, the same year as Complicity, and a year before his next novel, my unwavering favourite, Feersum Endjinn.

When I was looking for the cover art, I discovered a new critical work on Banks, The Science Fiction of Iain M. Banks, edited by Nick Hubble, Esther MacCallum-Stewart, and Joseph Norman. Much joy in finding that, and ordering as soon as bookshops open. Though I suspect I’ll be a little frustrated at the artificial division between Iain with and without an M.

The morse-code finger-tapping on skin communication method makes an appearance, I think that showed up also in Feersum Endjinn and maybe The Business — one day I might make a spreadsheet of all the various recurring themes in Banks’ novels, all of them, not arbitrarily splitting fiction and science-fiction, Culture and non-Culture, M. and no M. This could even be a novel set on the same Earth as Feersum Endjinn (and so also grazing the edge of the Culture) with all the specific technology and attitudes towards it, were it not for the part where Banks describes the Golter system as isolated by a million light years in all directions from any neighbouring galaxy. It occurs to me now it still could be. The end of Feersum Endjinn sees the titular fearsome engine come into motion, slowly, gradually moving the entire solar system out and away from an encroaching interstellar dust cloud. Vast, incomprehensible, uncontrollable technology left by long-distant previous generations and cultures, just as in Against a Dark Background.

It’s a sprawling, meandering, disorientating story, traversing landscape and planets, closest to The Algebraist in structure, and the kind of hopeless loss and existential bleakness of Alastair Reynolds novels. I’ve never seen it rated highly among either pop culture discussions of Banks or critical appraisals, perhaps because it doesn’t have the seductive space opera-ness of say, Excession, or the solid maturity of his later novels like The Hydrogen Sonata. I think there’s a set of his novels, read together or in various combination, which constitute what he was really on about, but only if we ignore those forced divisions: Feersum Endjinn (obviously), The Business, Whit, Against a Dark Background, The Hydrogen Sonata, The Bridge, The Steep Approach to Garbadale, and maybe — or swapping in and out — The Algebraist, Inversions and The Crow Road. I also thought there was a way to read (or rewrite) all his novels into a single, long chronological story, but that’s just being clever.

Anyway, Against a Dark Background, one of Iain M. Banks’ underrated works of melancholy beauty.

Reading: Iain Banks — Complicity (4th-ish Time)

A little short of good new reading at the moment, so ever-reliable Uncle Iain it is. I first read Complicity in Zürich, 2005, when I was working with Nigel Charnock and staying up up up the hill from Tanzhaus Wasserwerk. The woman I was staying with had a copy on her shelf, a mass market edition with the pulpy red and black portrait cover, the same one I just read.

This isn’t going to be one of those 3000-word essays like I did on Feersum Endjinn, Whit, or The Business, but I did notice a couple of things in this early-’90s Scotland novel of Iain without-the-M Banks. The main character, journalist Cameron Colley is a thinly disguised Banks, who does a deliberately lazy job of pointing this out by having the first person Cameron meets be another journalist called Iain. Haw haw. The other main character, murderous literalist Andy, is a childhood friend of Cameron, with whom the following happens during a phone conversation:

“You ever go the other way these days?”
“Eh?”
“You know, with guys.”
“What? Good grief, no. I mean …” I look at the receiver in my hand. “No,” I say.
“Hey, I just wondered.”
“Why, do you?” I ask, and then regret the tone because it sounds like I’m at least disapproving if not actually homophobic.
“Na,” Andy says. “Na, I don’t … I kind of … you know, I lost interest in all that stuff.” He chuckles, and I imagine again that I hear the noise echoing in the dark hotel. “It’s just, you know; old habits die hard.”

Maybe it was because I was just coming off watching Sense8, but I pretty much went, “Oh, that makes sense, he was bi.” Like much of his not-even-bothering-to-pretend insertions of self as characters, much in his novels is rooted in Banks himself. His love of hoonage and drugs, how he relates to the landscape of Scotland, his politics and imagining of a kind of trans queer multi-ethnic utopia in the Culture, imply writing Cameron and Andy (who is a tooled-up variation on himself) as bi isn’t a throwaway — especially for a nominally straight white guy who came of age in Scotland in the ’60s and ’70s. It’s a clear note to himself and his readers that carries across time.

The other thing which occurred to me is to do with a particular billionaire who has based his career around stealing the work of Kate Telman from The Business, names ships after Culture novels, loudly imagines himself on Twitter to be some kind of living embodiment of very early pre-Culture civilisation, and who recently proclaimed, “If you must know, I am a utopian anarchist of the kind best described by Iain Banks”. Yeah, nah mate. You’re so fucking wrong the needle on your tank of correct is pinned to E.

There is one character in the many Banks novels who in fact is Elon Musk, and he’s in Complicity. William. Greed is Good William, unethical investments William, buying a knighthood, “putting respectable amounts into Tory coffers,” trading in his wife “for a more up-market, user-friendly model, preferably one with her own title” William. William, “strapped to the internal bracing of the [garage] door with tape and twine around his wrists and ankles, his head covered with a black rubbish bag, tied tight around his throat with more black tape, his body limp,” dealt to by Andy. That’s what Banks thinks of the likes of Musk, he made it clear 25 years ago. At the end of Complicity, Cameron finds he has lung cancer; Banks himself only made it another twenty years. But Andy, Banks never sold him out, sent him off in an inflatable from Inchmickery in the Firth of Forth, “I might retire now, while I’m ahead. But on the other hand, there are still a lot of bastards out there.”

All My NGV National Gallery of Victoria Posts

Keeping things orderly here. Last week of my Naarm / Melbourne trip, Monday 26th March, I got myself along to NGV National Gallery of Victoria for the 2018 Triennial and weird European art.

Gallery

National Gallery of Victoria: J. M. W. Turner — Falls of Schaffhausen (Val d’Aosta)

Unexpected sighting of a Turner in Melbourne’s NGV. I was there for the mediæval art (kinda disappointing) and after stumbling through the Triennial in my quite delirious post-performance season state (wildly variable from brilliant to ew — the NGV I mean), took it upon myself to see Art. European Art. More on that another time, when I deal to the images. Turner I like. Especially his later work like this, where my eye and self goes in and drowns in the depths. It reminds me of Australian landscape from space.

Reading: Iain Banks — The Business (6th+ time)

Possibly my second favourite of all Iain Banks novels? With or without an M.? Yeah, pretty much, or makes up one in that peloton all bunched up somewhere behind Feersum Endjinn. My last documented read of The Business was over four years ago. I try and ration my re-readings a little, otherwise all I’d do would be cycle through the collected works of Saint Iain. But I read Feersum Endjinn, and I laughed a lot, just delirious in his brilliance, comedy, brutal right fucking on politics, y’know, the stuff that’s been around for ages that we currently call intersectional feminism. He was there doing it more than twenty years ago. He was the one who said, “Political correctness is what right-wing bigots call what everybody else calls being polite.” And he knew it was more than just being polite. Being polite is the bare minimum, the smallest amount of initial self-awareness and self-criticism to not be an arsehole.

I have this need to read that and him, and have a mere 29 books to choose from, and of those only a few are right for now, and the order I read them in is difficult to get right. I started with Feersum Endjinn, moved onto The Business, realised Whit was the correct next choice, currently am on Surface Detail, and have an idea where I’ll go next (that’d be The Hydrogen Sonata, followed by Matter), depending on whether I finish off the empty third of a shelf with a visit to my local bookstore or not.

This is a novel for hetero cisgender women who bang against the limits of what’s permitted for them to be human in a male, misogynist world. I was going to say for them to be equals, but frankly if what’s on offer is being equal let’s just shoot ourselves in the face now. Or them. It’s a novel for flying across hemispheres, and I’ve given it to a couple of friends for flights spanning Europe to Australia. This is a novel written by a guy who spent his entire life writing women.

Friday afternoon I spent with a good friend talking the hours away over sci-fi authors; a lot of time on Banks as she’d also just re-read Feersum Endjinn, me throwing my perceptions of him at her to see if they scored a suss look, “Always check the equipment for sensor error first”, as Banks said. I know my championing of Banks in the pantheon I’m placing him can easily slip over into uncritical revisionism, but Banks is a feminist whose primary characters are women — brown, queer, feminine, trans women (in various combinations) at that — and I don’t want to use the word ‘ally’ cos I think it frankly sucks, so I’m left trying to say he both wrote these characters as his primary perspective in story-telling and he aligned himself in the world in the same way. While hooning and drinking whiskey.

And that’s the complexity. I think often there’s an imperative for a one-to-one relationship between story and author. It’s a necessary, critical imperative. We want to see ourselves in the characters, and in the real world. We want to read our stories told by ourselves, for ourselves. I want to read stories that manage the difficulty of never being wholly one thing, of always being both multiple, of being not ‘x’, but also not not-‘x’. Banks is like this, at least publicly, and that’s the only version of a person I can ever really talk about. So as a nominally white, cisgender, hetero male who loved fast cars (until he went diligently environmental), drink and drugs, he’s superficially not a figure of or for representation in fiction. At most, he’d get a conditional pass for calling himself a feminist — and I’m ignoring his life-long left-ish anti-capitalism and anti-imperialism stances, as there’s plenty of white bros in that world who regard the issues of brown/BAME/POC, women, and trans people as divisive and irrelevant.

Yet in fifteen years of solid sci-fi reading, on top of all the other ‘serious’ stuff, he remains for me exemplary. And in this re-reading, after a break of some years since my last, during which my … maybe to say my critical faculty has become clearer and more coherent, and I am better able to write about how I read or how I approach being an audience for art or culture, so I’m reading Banks with a more rigorous eye for what I expect in a novel or work of art; a less forgiving one too.

The Business has an uncomfortable ending. I’ve already established it as a feminist novel, and yet the final decision of Kate Telman is to marry the Crown Prince of fictional Himalayan country Thulan (possibly based on Mustang in Nepal, and continues Banks’ proclivity for fictional South Asian countries, which may or may not be a deep joke of his at empire and colonialism, but certainly isn’t without significance), Suvinder Dzung, who has spent much of the novel professing his love for her. She neither loves him nor Thulan, though comes to find herself taken by the beauty of the mountains and towns reminiscent of Banks’ love of the Scottish landscape. As I said about Banks in Feersum Endjinn, land and representation are inseparable. Her decision to say yes to the marriage proposal is in the end pragmatic and an act of resistance. It’s a feminist act, though I doubt either she nor most readers would regard it as such, yet here I am arguing for that reading. Whatever other novels Banks has written where the guy gets the girl he’s loved (Espedair Street, The Crow Road, Stonemouth), maybe the only similarity is that of small-town decisions made because there’s no other possibilities, and any decision made by yourself is an act of agency when everyone else is doing the deciding for you.

For which we need to go back to the beginning. Kate Telman is born and grows up in dirt poor Glasgow, where she meets one rainy day at age eight, a woman with a chauffeur. All that follows turns on this chance encounter of a flat tire in a shite neighbourhood. This encounter leads her to working for the Business, a millennia-old corporate concern from the pre-Christian Roman Empire era (which it once owned for a few short weeks), working her way up the Levels as a rising star for her technology investments (which, unsurprisingly given the names of SpaceX’s drone ships, broadly correspond to Elon Musk’s), before realising she’s being auctioned off like livestock to further the concern’s plan to acquire a seat at the UN by effectively buying a small country. Being the Business, career advancement and accountability is transparent, except when it’s not. An offer for her to take a post in Thulan for several months of the year — with all the benefits of upping to Level 2 (the youngest ever) — slowly unfolds to reveal the expectation she will marry and have children with Suvinder, thus assuring the Business permanent control.

She could back out, continue her life of a high-flying young executive, and she’s told there would be no mark on her record for doing so. So why does she choose to marry Suvinder, and on terms which undermine the Business and herself?

Many of the reviews I’ve read say the novel goes soft, or limp, or splutters out. I’m not typecasting the reviewers here, at all. A true hero would White Saviour all over Thulan, earning the eternal gratitude of Suvinder, who totally would not want to bone him, simultaneously thwarting the impotent evilness of the Business, and get the girl at the end, who would come to her senses and leave her unhappy, cheating marriage. And reviewers would applaud its cleverness and uniqueness and their own acute critical abilities, and there’d be no limp, spluttering softness. Cos we’ve all seen movies and shows like that at least once a season if not several times a week.

What happens then, when it’s a woman who has to navigate that story?

Check equipment: misogyny, glass ceiling, institutional sexism.

Marriage, seen as giving up power and freedom, presupposes you have these to start with. Does Kate willingly swap one power imbalance for an ‘arranged marriage’ — specifically a South Asian one, with all the white disapproval of brown people’s oppression of women? Does she see a pragmatic choice predicated on the impossibility of ‘having it all’? Even though she’s offered a castle (Uncle Freddie’s). Which comes with an F40 (yes, yes, Frances, “Brutal.”). Her decision to go with the marriage was only partly about being a buffer between Thulan and the Business, fully cognisant of her being positioned either way as white saviour. It was aligning herself with those who are on the sharp end of systematic oppression. The Kate who grew up with nothing sees not so much difference between herself and Thulan: in both, money can buy its way in and determine the future, and nothing can stand up against that. So she sees, like Feersum Endjinn, that the alignment between poor, women, global south, immigrants, is the one that is correct, even if it means compromises. I’m reminded here of Peter Fryer’s Black People in the British Empire: An Introduction — specifically his discussion of the triangle of colonialism in South Asia with its suppression of domestic textile markets, cotton plantation slavery in the Americas, and the rise and dominance of English textile manufacturing, which was bound to both this slave trade and colonialism for its success, and subjugated by the same methods. Why there was child labour at all in Britain is inextricably tied to slavery and colonialism.

The marriage is explicitly an uncomfortable choice for her, for Banks, for the reader. It questions feminism, it slides uneasily into orientalism, many tropes of fiction, and many of first world/global north/international community/development aid fantasies. It’s far less satisfying and complete than Feesum Endjinn, and it’s far more realistic. It remains a luxury and a fantasy to think white, cisgender, hetero women in Britain and it’s white, commonwealth countries — who have been told they are emancipated for decades — have much freedom outside this imperative: get married, have children, subsume your desires and agency to your husband and children. Take away the science-fiction from his novels, and you’re left with his Iain-wthout-an-M. Banks novels. Take away the more sci-fi elements of The Business, and you’re left with a contemporary story of a woman’s choices: career or marriage. Except there’s never been a choice, there’s never ‘have it all,’ it’s never about those two things.

Banks was long a supporter of Scottish independence, and both The Business and Feersum Endjinn can be read as manifestos for this self-determination. It’s intentional Kate is a poor, less than working class girl from Glasgow. Again, it’s about self-reflection, and recognising interlocking systems of oppression: being poor in a capitalist structure; woman in a misogynist one; Scottish in the UK; British in the Empire’s former colonies; white in a world founded on racism. It’s about recognising how each of these have different repercussions and function in unique ways, yet all are underpinned by the identical historical forces. So Banks recognises — if we’re bound by the nation-state system — that Thulanese sovereignty is predicated on the same constraints as Scottish, yet individuals of the latter can be used to deny the former’s. And this is where we end up with that ‘soft, or limp’ ending. Kate’s decisions rest on knowing exactly who she is and where she came from. She can sit at the Business’ table, be treated like family, but she’ll never be one of them. There’s no going back to Glasgow, and since she left she’s never had her own life. Kate, the novel, and Banks goes round in circles on this, there’s no solution. It’s clunky and awkward and frustrating. Thulan isn’t going to come out of this unchanged, nor is Kate, and she knows it. So what’s the alternative? Pretend 500 years of colonialism and its damage never happened, and write something else? Or write the novel that says, “Fuck it, I’m gonna fight for this mob, ’cos we know which side we’re on.”

I come back to where I said her saying yes to marriage is a feminist act. It’s the job of women to do the work. To do the cleaning, to take care, to provide labour, emotional, physical, temporal, aesthetic. bell hooks talks about this in the chapter, Rethinking the Nature of Work in Feminism: From Margin to Center. It’s also the job of women, particularly white women, to be fully cognisant that their place in history does not automatically denote an oppressed or the most oppressed class. Kate knows this, and says as much. Banks knows this too. What remains is Suvinder. She offers her ‘yes’ to his proposal as a feminist act. It’s contingent on him whether it is accepted as, and remains one. It becomes a business proposal, a political proposal. For those of us on the margins, all relationships are political and feminist. How we do the work together over time determines whether they remain so.

An epilogue: there’s a way you could read these two novels, The Business and Feersum Endjinn, in which the latter is a future where the queer women of Thulan came to Scotland, did mad science, win its independence, and save the planet.

(I started writing this mid-May, five months ago, then got distracted. Most of the stuff from “What happens then, when it’s a woman who has to navigate that story?” I wrote end-September. It’s a clunky piece of writing for a novel I love and which frustrates me each time I read it.)

Reading: Steph Swainston — Above the Snowline

I read these in the wrong order. Mainly because they arrived out of order. So I read Fair Rebel first, which is Steph Swainston’s most recent Castle novel, the first after her return to writing after a few years retirement, and then jumped back to her last before, Above the Snowline.

This is something of a minor work next to the gigantic, continent-shaping events of the original Castle trilogy and Fair Rebel. Her concern here is the life of Jant, the Messenger, also known as Comet. If we see anything of the world of the Castle through someone’s eyes, it’s through his, yet he is also deliberately reticent in sharing much of himself. It is up to the events of Above the Snowline to rectify that, but even here he — by which I mean Steph — does a fine job of keeping private private.

I’m not much of a reviewer. I’m not writing a carefully structured synopsis, methodical analysis and criticism; there’s a world where I do, but it’s not this one.

I spent the novel convinced the action took place over the peaks of the Darkling Mountains on the west coast, when it in fact took place barely on the shoulders of the eastern flanks. It’s nonetheless a pitiless world of vast glaciers, peaks, and alpine forests, where winter, snow and darkness collapse the action in on itself. Just as Steph writes warfare and battle with the dispassionate attention of a sniper at the side of a commander, so does she write mountains like a climber on the wrong end of a rope and a storm.

I’m curious why she writes hetero males (long-limbed, winged, and drug-addicted ones) as main characters, and the binary pairings that seem especially pronounced here. I think she can justify it to herself, the world of the Castle is her lifelong fantasy world, and probably as real and familiar as this world. Yet it always jars me when an author has such familiar and recognisable romantic or gendered relationships in a world so very much not ours, as though the base reality for the multiverse was a 20th century European historical revisionism of its imagined self. Not that I’d throw it down and refuse to read it. Swainston is currently very much on my Will Always Read list.

So, Above the Snowline, I probably wouldn’t read more of Swainston if I’d started with this, even though it chronologically precedes the first Castle novel, The Year of Our War, and would make an interesting order to read. It’s like a novella exploring the main character of her other novels, yet somehow he remains elusive, as though she doesn’t really want to share him with us. As for Shira Dellin, the Rhydanne who sets off the novel when her partner is murdered by colonialists, she is and remains an enigmatic Noble Savage, the object of Jant’s immature infatuation, too blinded by his imagined superiority to see she is fighting for her and her people’s lives. I’d like to think the current world of fantasy and sci-fi is grown up enough to not actually be seriously writing this, but then I remember Avatar is getting four sequels. I’m a little iffy about some of this.

Worth reading? If you’re like me and get a kick out of reading everything from an author, then sure. Otherwise the Castle trilogy followed by Fair Rebel is a hugely accomplished quartet, starting with The Year of Our War. If that one doesn’t do it the rest probably won’t.

Gallery

„Neuen Galerie” im Hamburger Bahnhof: Ernst Ludwig Kirchner — Hieroglyphen

“Scheiße!”

That’s what one of the pair of old, white-haired German women said across the gallery to the other while standing before the pink and blue scribbling of Zwei Badende. Shortly after, she snorted at Max Liebermann in seinem Atelier, offered the faintest of praise for Sängerin am Piano, and as we tacked our separate ways through the exhibition continued her derision, as if she was a good jury member for Entartete Kunst. I’d like to think she was unaware of the irony, but this is Germany at the end of 2016 and even in the heart of Berlin there are Nazis who tell themselves and each other they’re not Nazis.

So, me at Neuen Galerie im Hamburger Bahnhof seeing Ernst Ludwig Kirchner: Hieroglyphen, and also my first museum visit where I arranged to bring my camera. Most of the special exhibitions in the Staatliche Museen zu Berlin are No Cameras Allowed. Without photographing plus subsequent blogging there isn’t much point to my museum trips, thanks then to the Kommunikation department for making it easy (even though it turned out cameras were anyway allowed).

Ernst Ludwig Kirchner is one of my favourite artists. Maybe an easy choice, but my favourites tend to be six hundred years or so earlier. Twentieth century art, particularly the earlier part, and the pervasive white male bias doesn’t hold so much attraction for me. I’m happy to write off entire movements (Impressionism, Surrealism, Cubism, several other –isms, for example), but Expressionism, I keep coming back to this and him. I’ve seen him in Museum Kunstpalast Düsseldorf, at the huge Alte Nationalgalerie exhibition Impressionismus – Expressionismus. Kunstwende, in Staatliche Kunstsammlungen Dresden, Albertinum Galerie Neue Meister where I was mad for his Eisenbahnüberführung Löbtauer Straße in Dresden. Works like Potsdamer Platz I never tire of seeing; others like Nackte Mädchen unterhalten sich (Zwei Mädchen) or Unterhaltung; Liegende Frau (both in Dresden) stun me every time with their colour and movement, it’s so fucking radical. Oddly I haven’t made it out to the Brücke Museum yet.

Ernst Ludwig Kirchner: Hieroglyphen presents the 17 works in Berlin’s currently closed for renovations Neue Nationalgalerie collection, plus works from Kirchner Museum Davos, Brücke Museum, and private collections. Besides the core paintings, there are sketches and works on paper, wood sculptures, photographs from Kirchner’s various ateliers, books, and some dancing. It’s not a huge exhibition, if you were slamming Hamburger Bahnhof you could whip through in 15 minutes. I spent an hour there and could have easily used up another. These works and the accompanying text deserve contemplation.

Kirchner used the word Hieroglyph himself in articles published under the pseudonym Louis de Marsalle, to describe how he worked with a symbolic language in his work as part of “the radical abbreviation and reduction of his imagery.” The exhibition starts with this text, and an essay in a book, accompanied by the sketch Tanzduo. Which I thought looks exactly like Dasniya, down to the face and bloomers under tutu.

In this first section are works I’m most familiar with of his, Haus unter BäumenBadende am Strand, both from Fehmarn, up on the Ostsee north-east of Hamburg. It then returns to dance. He, like many artists then, frequently painted dancers, possibly the influence of Ballets Russes who blew away the ballet world in 1909.

Opposite the dance section is Davos, where he moved after having a breakdown and while dealing with drug addition and alcoholism. There was a beautiful, huge tapestry hanging on the wall, unfortunately under perspex and unphotographable — the only work to suffer this, all the other artworks were under that magical unreflective glass — and probably the pick of the exhibition. His style changes here too, the late-’20s, early-’30s of Wiesenblumen und Katze or Sängerin am Piano flatter and with Cubist elements, almost alien to his earlier frenzy.

Berlin forms its own section, with some of my favourite pieces I would love to steal. The incredible Potsdamer Platz is here, as is Rheinbrücke in Köln and Der Belle-Alliance-Platz in Berlin. These form yet another distinct style, at first glance not different from the Fehmarn works, but they’re far lighter, faster, almost like watercolour on paper. Erna Schilling also arrives, his life partner from then on. These aren’t easy works. Kirchner populates the cityscape with what he called ‘Kokotte’, coquettes, sex workers, and the men, always diminished figures on the sides carry an anonymous menace.

Around the next corner, and one of the contextually most interesting for me. But first, Sitzender Akt mit erhobenen Armen, which I cannot help look at and see a nice plate of two fried eggs, sunny side up beside the naked woman. I know they’re supposed to be flowers in vases, but it’s all eggs to me. What’s more pertinent here is his use of colour on the shadows outlining her body. They’re a turquoise that contrasts the apricots and light salmon colours of her skin. When I look at this and compare it to Zwei weibliche Akte in Landschaft, with the hallucinogenic greens, yellows, pinks, blues of their bodies, it becomes clear how the latter in no way denotes a non-natural skin colour, nor do the greens and yellows of the Potsdamer Platz women or other portraits.

This painting was in the section called “Signs of Other Worlds” and discusses the influence of non-European art and culture on his and other Brücke artists’ work and life. Both African and Oceania form influences, and both were sites of German Colonialism until the end of World War I. It’s difficult for me to know where Kirchner sits in this. On one side he was horrified by the treatment of Jewish Germans even in the early-’30s, and was expelled by the Nazis from the Prussian Academy of Arts when they came to power in 1933, yet he also saw what he and the Brücke artists were doing as encouraging “truly German art, made in Germany”. So there’s this tension between radical aspirations and uncritical nationalism and colonialism.

Carl Einstein’s (a German Jewish writer, art historian, anarchist and critic) book Negerplastik is described as an important influence, and two copies are presented alongside Kirchner’s work. This influence is immediately apparent in his sculpture, even without prompting, but I like that this connection was explicitly made.

There’s also one photo that achieved the glorious down-the-rabbit-hole I love about museums. All the photos are postcard-sized, and being a hundred years old, not sharp or clean at all. This one, from Kirchner Museum Davos was captioned “Die Artisten Milly und Sam in Kirchners Atelier, Berliner Straße 80, Dresden” from circa 1910/11. It’s set in a chaotic room, artworks, hangings, and sculpture propped up against walls, littering the floor. There are two naked figures, Milly, in the bottom-left corner, and Sam, standing, one arm on his hip, the other stretched along the top of a painting. Both of them are black. They have names, are called ‘artists’ (Artisten), so what were they doing in Berlin in 1910?

For a start, this isn’t the only work they appear in. Milly is the subject of Kirchner’s Schlafende Milly in Kunsthalle Bremen, both were the subjects of numerous sketches by Kirchner, and Milly probably appears in more than one work without being named. Both of them are said to have also modelled for Erich Heckel. An alternate title for the photo is “Sam und Millie vom ‘Zirkus Schumann’”, and they are variously described as ‘circus’, ‘jazz dancer’, and ‘Black American’ artistes in sources cited in Face to Face? An Ethical Encounter with Germany’s Dark Strangers in August Sander’s People of the Twentieth Century. So there’s this whole history of early-20th century Afro-Germans, colonialism, immigration in this one small, easily missed photo, which is a lot to put on a naked man and woman, about whom not much is known. It’s these traces though that history is all about. A single photo, a name, and a world opens up.

A little note on the nudity: Kirchner and friends were all down with getting naked and running around. Freikörperkultur (Free Body Culture) was and is a deeply German thing. There were several photos of “naked but for a cigarette” in the exhibition. It might be this one was only one of a series, though how comfortable they were with nudity, whether they felt objectified, how Kirchner and the other artists regarded them, I can’t speculate.

A final note: Shortly after Nazi Germany annexed Austria in the Anschluss, Kirchner, living in Switzerland and fearing a similar invasion, killed himself.

Gallery

Muzeum Geologiczne Instytutu Nauk Geologicznych PAN w Krakowie

Wandering down a side street in Kraków Old Town, I see a Geological Museum. I knew there is a mineral museum somewhere. This wasn’t it. I was a little chafed at both museums housing the large mediæval art collections were closed for restoration, and having no real aim in mind and liking all things geo and tectonic, decided to go in. The archæological museum as well was directly around the corner.

It’s a really small museum, more of an exhibition, a room about 60 square metres. What it doesn’t have in size, the Muzeum Geologiczne makes up for with an utter lack of wasting of time. There was a really nice guy on the desk who gave me a folder for english translations of everything … everything, but wow if every museum took attention to detail like this one did. Information overload? Yes! And! “The rocks. You can touch, also.” Excitement!

A clarification, it’s a museum of the geologic history of Kraków and neighbourhood predominately, with some general Poland and Carpathians thrown in as required. It starts with a nice geologic map of the area and NS and WE cross-sections. Then it throws a wall-sized map of all the impact craters and other stuff that’s slammed into Poland from above.

The main room is split into three areas: the left wall with covering several geologic periods from Precambrian to Holocene, the right covering plate tectonics in the region (with some tasty photos of limestone cliffs), and the centre display cases of wood, plant, and shell fossils from the various epochs. Plus a monstrous cubic block of salt.

It’s brief, consistent, and comprehensive for such a small exhibition. Each period has a stratigraphic log, text explaining the different processes at work and the resulting rocks, minerals, landforms, samples of minerals, rocks, ore, crystals, all in a glass case, and then a few bits to pick up and turn over. It sounds a little dry but for me it wasn’t. Probably because it wasn’t 3 hours of room after room of this. It’s obviously been assembled by knowledgeable and passionate geologists, who don’t dumb down the information, yet also present it carefully and attractively. And yes, nicely lit. Actually, it needed about half a room more, to give more room for information to the fossil display cases and the geologic maps.

I wasn’t sure what to blog; I photographed almost everything. So, a few samples and minerals because it’s been a while since pretty invaded supernaut. And that block of crystal salt? It’s about the size of a small person. (And some of the translations I did myself as the fossils weren’t translated in the folder.)