Chapter 1: The Culture Series Revisited

It’s the perfect moment for me to revisit Iain M. Banks’s remarkable Culture series. For anyone who hasn’t yet delved into this collection, the Culture represents a vast, utopian civilization spread across galaxies. I nearly described it as futuristic, but I hesitated, realizing that the Culture, along with other civilizations in the cosmos (some even more advanced), is not merely a distant evolutionary outcome; it exists alongside us in the present day. The novella ‘The State of Art’ artfully delves into this intriguing premise, showcasing Banks's exceptional narrative skill.

In ‘The State of Art’, we explore the first contact between the Culture and Earth, which occurred in 1977. Interestingly, this encounter went unnoticed by Earth's inhabitants and was largely overlooked by the Culture itself. This scenario offers a plausible explanation for the famous Fermi paradox. The emissaries from this advanced civilization arrived, quietly observed us, and left a note: “Kindergarten. Do not enter,” before departing. A handful of academics would later pen articles and studies about this peculiar barbaric culture located in the galaxy's periphery. These writings would only be read by a few other scholars and enthusiasts, and that would be the end of it.

However, complications arose when one member of the expedition unexpectedly fell in love with humanity and chose to abandon the Culture for life on Earth. He argued that Earth’s inhabitants experience life to its fullest, contrasting sharply with the Culture's citizens, who dwell in comfort and leisure. The central character, Diziet Sma (known from Banks's earlier work, ‘Use of Weapons’), is left to navigate this complex situation while being influenced by defector Dervley Linter and the sentient Contact ship, Arbitrary, which possesses its own perspectives and a sharp wit.

Rather than divulging further plot details, I find it more enriching to discuss the underlying themes presented in the narrative. Banks channels a profound question through his three main characters: Diziet, Dervley, and Arbitrary. This question resonates deeply with the author: is the experience of suffering and the relentless struggle for existence—a life that is often fleeting and devoid of joy—truly essential for progress?

To summarize:

Why endure suffering if it can be avoided? Or is that even possible?

It’s noteworthy that Linter, in choosing to remain on Earth, does not opt for a life of destitution; instead, he seeks the Earth’s “hard life” as a prosperous and respectable individual. This raises the question: what stopped him from joining the Special Circumstances, the Culture’s covert operations (if such a concept can be applied to the Culture), to find his thrill there?

While downshifting may seem appealing, especially in idyllic locations like Goa and Thailand, an abrupt transition from a comfortable European lifestyle to the slums of Sao Paulo or Bangladesh often leads to tragic outcomes, despite noble intentions.

When you step back as an impartial observer, one must ponder: why do we engage in this behavior? What is the purpose?

Moreover, what could possibly render us interesting to other civilizations, aside from our bizarre and violent rituals?

The first video, "What Did Iain M Banks Want Us To Learn From The Culture?", explores the lessons and philosophies woven into Banks's works, providing insights into the Culture's societal norms.

The second video, "The Culture of Iain M Banks," delves into the intricate details of the Culture universe, discussing its impact and significance within the science fiction genre.

Chapter 2: The Philosophical Questions Behind the Culture