The Wasp Factory
|The Wasp Factory|
First edition cover
|Publication date||16 February 1984|
|Media type||Print (Hardback & Paperback)|
It is written from a first person perspective, told by sixteen-year-old Frank Cauldhame, describing his childhood and all that remains of it. Frank observes many shamanistic rituals of his own invention, and it is soon revealed that Frank was the perpetrator of three deaths of children within his family before he reached the age of ten himself. As the novel develops, his brother's escape from a mental hospital and impending return lead on to a violent ending and a twist that undermines all that Frank believed about himself.
The 'Wasp Factory' of the title is a huge clock face encased in a glass box and salvaged from the local dump. Behind each of the 12 numerals is a trap which leads to a different ritual death (for example burning, crushing, or drowning in Frank's urine) for the wasp that Frank puts into the hole at the center within tubes. Frank believes the death 'chosen' by the wasp predicts something about the future.
There are also Sacrifice Poles, upon which hang the bodies and heads of larger animals, such as seagulls, that Frank has killed and other sacred items. They define and 'protect' the borders of Frank's territory - the island upon which he lives with his father.
Frank occupies himself with his rituals and maintaining an array of weapons (from his catapult, to pipe bombs and a crude flame thrower) to control the island. Frank is haunted by an accident which resulted in the loss of his genitalia, and resents others for his impotence, particularly women. He goes for long walks and runs patrolling the island, and occasionally gets drunk with his dwarf friend Jamie in the local pub. Other than that, Frank has almost no contact with the outside world and admits that he is afraid of it due to what it did to his brother, Eric.
Frank's older brother Eric is in an insane asylum after being arrested for brutalizing the town's dogs. He escapes at the start of the novel and throughout the book rings Frank from phone boxes to inform Frank of his progress back to the island. Their conversations invariably end badly, with Eric exploding in fits of rage. Frank is confused as to whether or not he is looking forward to seeing Eric, but it is clear Frank loves his brother dearly.
Frank remembers his older brother as being extremely sensitive before "the incident" that drove him mad: a tragic case of neglect in a hospital where Eric was a volunteer. While attempting to feed a smiling brain-damaged child with acalvaria, Eric realizes that the patient is unresponsive and only smiling off into space. He checks the usually-alert patient's head dressings to find the child's exposed brain tissue infested with day-old maggots.
At the end of the novel, Eric's imminent return precipitates a series of events that result in Frank discovering male hormone drugs in his father's study. After confronting his father, Frank finds out that he is a girl and that when he thought he was castrated by a dog mauling at an early age, Frank's father had simply pumped her full of male hormones to see if she would transition from female to male. The father said it was simply "an experiment" and there are hints it was in order to distance himself from the women he felt had ruined his life.
Literary significance and criticism
||This section possibly contains original research. (June 2013)|
A 1997 poll of over 25,000 readers listed The Wasp Factory as one of the top 100 books of the 20th century. But as a first novel by an unknown author, the book was initially greeted with a mixture of acclaim and controversy, due to its gruesome depiction of violence. While this is mostly against animals, Frank also recollects killing three younger children when a child himself. The murders are described in an honest and matter-of-fact way, often with grotesque humour; what may be more disturbing than the details of the violence itself is the depth and intensity with which Frank is portrayed. What is also most shocking about the novel is the fact that the reader actually starts to sympathise with and even like Frank despite his monstrous, psychopathic actions. The Irish Times called it "a work of unparalleled depravity."
The novel works largely as a Bildungsroman as it deals with Frank's ability to deal with events going on around him as he has grown up. In terms of genre it fits into the Gothic Literature due to its exploration of death, mortality and arguably presentations of the monstrous.
It also deals with Banks' sceptical attitudes towards organised religion. Frank is obsessive about ritual and the form of things; the Wasp Factory and the Sacrifice Poles are protective talismans, and divinatory in intent.
The novel is also about power and its abuse. Frank's father's deception of his son (one of Banks' central themes, which appears again in The Crow Road), and the propensity of people for deceiving themselves, are accentuated in the final chapters of the book when new facts force the reader to reassess completely the opinions formed about the narrator.
- No Sartre, no Lessing, no Mailer: Frodo the hobbit beats them all - The Independent
- Freyne, Patrick (2013-04-12). "Iain Banks: ‘In the end we’ll be smiling’". The Irish Times. Retrieved 2013-06-18.
- Iain Banks discusses The Wasp Factory on the BBC World Book Club
- Iain Banks discusses The Wasp Factory at the Guardian Book Club
- Iain Banks writing about the creation of The Wasp Factory for the Guardian