Cover of first edition (hardcover)
|Author||Iain M. Banks|
|Genre||Science fiction novel|
|Media type||Print (Hardback & Paperback)|
|Preceded by||Complicity (novel)|
It was Banks' second science fiction novel not based upon or set within the Culture universe.
The book is set on a far future Earth where the uploading of mindstates into a world-spanning computer network (known as "the data corpus", "cryptosphere" or simply "crypt") is commonplace, allowing the dead to be easily reincarnated (though by custom, only a limited number of reincarnations are allowed).
Humanity has lost much of its technological background, due partly to an exodus by much of the species, and partly to the fact that those who remained (or at least their rulers) are fighting against more advanced technology such as Artificial Intelligence.
Meanwhile, the solar system is drifting into an interstellar molecular cloud ("the Encroachment"), which will eventually dim the Sun's light sufficiently to end life on Earth. The Diaspora (the long-departed segment of humanity) have left behind a device (the "Fearsome Engine" of the title) to deal with the problem; the book follows four characters who become involved in the attempt to activate it, with the narrative moving between the four (who do not meet until very near the end) in rotation.
A quarter of the book is told by Bascule the Teller and is written phonetically in the first person. The phonetic transcription and shorthand corresponds to the modern use of text-messaging. No dialect words are used, but there are (inconsistent) hints of a Scottish and a Cockney accent.
The fourth chapter of the book's Part One opens with:
Woak up. Got dresd. Had brekfast. Spoke wif Ergates thi ant who sed itz juss been wurk wurk wurk 4 u lately master Bascule, Y dont u ½ a holiday? & I agreed & that woz how we decided we otter go 2 c Mr Zoliparia in thi I-ball ov thi gargoyle Rosbrith.
Literary significance and criticism
Feersum Endjinn was generally well-received; while it is far from being "hard science fiction", the completeness of the plot and the detailed description of the mega-architecture and the crypt were praised by critics.
Literary critic and historian Ian Duncan has argued that Banks’s ‘fearsome engine’, like his bridge, “is another allegory of the state, except that this apparatus is not just sublime in its dissociation from human accountability – it is omniscient, providential, and even organic.”
- Caroline McCracken-Flesher Scotland as Science Fiction, (Bucknell University Press, 2011), p. 123.
- Culture, Nation, And the New Scottish Parliament (Bucknell University Press, 2007) edited by Caroline McCracken-Flesher, p. 51.