Re:The Culture War: Iain M. Banks’s Billionaire Fans
by WorldMaker on Wednesday January 27, 2021 @01:28PM
(#25931869)
> It sounds like Star Trek has a lot of similarities with the Culture novels. Both depict an imagined communist utopia in which everyone is flawless, that butts up against or sometimes interferes with other flawed societies.
For the most part Banks never writes a novel about the mainstream of Culture society because he admits in his own forewords and interviews that he can't imagine it (because humans may even be incapable of imagining true utopia) and what he can imagine wouldn't be a useful premise for the drama of a novel.
The novels are almost all entirely about exploring the flaws and the outskirts, the outsider perspectives on the Culture, the people that aren't happy inside the Culture and are looking for adventure or to leave or to fix something they found was broken about the Culture or at least a small part of it.
The difference between optimism and pessimism is that even in trying to find flaws, exploring the outskirts and the possible problems in intermediate spaces, Banks doesn't set out to tear down or destroy the Culture (though some of his unsuccessful protagonists may have that as a goal), but wonders how it enriches the Culture and how they would learn from their flaws/mistakes/imperfections, how they would use the loners and outcasts (as weapons, as players of games, as excuses and chances to grow and be better) that they don't always see eye to eye with, culturally speaking, but tolerate in their own strange ways.
A lot of the same applies to Star Trek, though often less intentionally self-aware as the Culture (but the Culture also has the benefit of learning from Trek and its flaws/mistakes). A lot of Star Trek is still a drama about how does a utopia confront its frontiers, its edges, its loners/rebels/outcasts, and most importantly its own flaws, and how does it use those conflicts to grow. (Even TNG/Voyager despite most of the problems being resolved by the end of a single episode, still have many great episodes about how the Federation isn't perfect/has room to grow.)
For the most part Banks never writes a novel about the mainstream of Culture society because he admits in his own forewords and interviews that he can't imagine it (because humans may even be incapable of imagining true utopia) and what he can imagine wouldn't be a useful premise for the drama of a novel.
The novels are almost all entirely about exploring the flaws and the outskirts, the outsider perspectives on the Culture, the people that aren't happy inside the Culture and are looking for adventure or to leave or to fix something they found was broken about the Culture or at least a small part of it.
The difference between optimism and pessimism is that even in trying to find flaws, exploring the outskirts and the possible problems in intermediate spaces, Banks doesn't set out to tear down or destroy the Culture (though some of his unsuccessful protagonists may have that as a goal), but wonders how it enriches the Culture and how they would learn from their flaws/mistakes/imperfections, how they would use the loners and outcasts (as weapons, as players of games, as excuses and chances to grow and be better) that they don't always see eye to eye with, culturally speaking, but tolerate in their own strange ways.
A lot of the same applies to Star Trek, though often less intentionally self-aware as the Culture (but the Culture also has the benefit of learning from Trek and its flaws/mistakes). A lot of Star Trek is still a drama about how does a utopia confront its frontiers, its edges, its loners/rebels/outcasts, and most importantly its own flaws, and how does it use those conflicts to grow. (Even TNG/Voyager despite most of the problems being resolved by the end of a single episode, still have many great episodes about how the Federation isn't perfect/has room to grow.)