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Iain Banks was a Scottish author. He wrote mainstream fiction under the name Iain Banks and science fiction as Iain M. Banks, including the initial of his adopted middle name Menzies .

After the publication and success of The Wasp Factory , Banks began to write on a full-time basis. His first science fiction book, Consider Phlebas, was released in 1987, marking the start of the Culture series. His books have been adapted for theatre, radio and television. In 2008, The Times named Banks in their list of "The 50 greatest British writers since 1945". In April 2013, Banks announced that he had inoperable cancer and was unlikely to live beyond a year. He died on 9 June 2013. Wikipedia  

✵ 16. február 1954 – 9. jún 2013
Iain Banks fotka
Iain Banks: 139   citátov 2   Páči sa

Iain Banks: Citáty v angličtine

“The youth was a cretin, and didn’t even realize that he was.
He could think of no more disastrous combination.”

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Iain Banks Culture series

Zdroj: Culture series, Use of Weapons (1990), Chapter V (p. 303).

““These people have successfully incorporated a belief in your martial prowess into their religion; how can you deny them?”
“Believe me, it would be easy.””

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Iain Banks Culture series

Zdroj: Culture series, Use of Weapons (1990), Chapter Twelve (p. 390).

“Sex was an infringement, an attack, an invasion; there was no other way he could see it; every act, however magical and intensely enjoyed, and however willingly conducted, seemed to carry a harmonic of rapacity. He took her, and however much she gained in provoked pleasure and in his own increasing love, she was still the one that suffered the act, had it played out upon her and inside her. He was aware of the absurdity of trying too hard to develop the comparison between sex and war; he had been laughed out of several embarrassing situations trying to do so (“Zakalwe,” she would say when he tried to explain some of this, and she would put her cool slim fingers behind his neck and stare out from the rambunctious black tangle of her hair. “You have serious problems.””

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Iain Banks Culture series

She would smile), But the feelings, the acts, the structure of the two were to him so close, so self-evidently akin, that such a reaction only forced him deeper into his confusion.
Zdroj: Culture series, Use of Weapons (1990), Chapter IX (pp. 144-145).

“He was tall and very dark-skinned and he had fabulously blond hair and a voice that could raise bumps on your skin at a hundred meters, or, better still, millimeters.”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 5 “Kiss the Blade” section IV (p. 151).

“It’s very nearly 1989 but it’s midnight in the Dark Ages just the thickness of a book away, the thickness of a skull away; just the turn of a page away.”

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Iain Banks

“Piece” (p. 74)
Short fiction, The State of the Art (1991)

“Quettil, it doesn’t matter,” the King said airily, waving one hand. “I prefer accuracy to flattery.”

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Iain Banks Culture series

Zdroj: Culture series, Inversions (1998), Chapter 9 (p. 158)

“He knew in his heart that there was a relief in not being listened to, sometimes. Power meant responsibility. Advice unacted upon almost always might have been right, and in the working out of whatever plan was followed, there was anyway always blood; better it was on their hands. The good soldier did as he was told, and if he had any sense at all volunteered for nothing, especially promotion.”

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Iain Banks Culture series

Zdroj: Culture series, Use of Weapons (1990), Chapter XII (p. 65).

““You like music, Mr. Gurgeh?” Hamin asked, leaning over to the man.
Gurgeh nodded. “Well, a little does no harm.””

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Iain Banks Culture series

Zdroj: Culture series, The Player of Games (1988), Chapter 2 (p. 277).

“Did the Doctor really imagine that everbody went around believing different things? One believed what one was told to believe, what it made sense to believe. Unless one was a foreigner, of course, or a philosopher.”

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Iain Banks Culture series

Zdroj: Culture series, Inversions (1998), Chapter 7 (pp. 125-126)

“Maybe it wasn’t anything remotely to do with religion, mysticism or metaphilosophy after all; maybe it was more banal; maybe it was just…accounting.”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 11 “Regarding Gravious” section VI (p. 364).

““I’m very sorry,” the drone said, without a trace of contrition.”

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Iain Banks Culture series

Zdroj: Culture series, The Player of Games (1988), Chapter 3 (p. 308).

“The combination of modern ordnance and outdated tactics had, as usual, created enormous casualties on both sides.”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 3 “Uninvited Guests” section I (p. 66).

“He had to give orders that meant men died, and sometimes sacrifice hundreds, thousands of them, knowingly sending them to their near-certain deaths, just to secure some important position or goal, or protect some vital position. And always, whether they liked it or not, the civilians suffered too; the very people they both claimed to be fighting for made up perhaps the bulk of the casualties in their bloody struggle.
He had tried to stop it, tried to bargain, from the beginning, but neither side wanted peace on anything except its own terms, and he had no real political power, and so had had to fight.”

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Iain Banks Culture series

Zdroj: Culture series, Use of Weapons (1990), Chapter I (p. 443).

“He wanted to be who he was, not the person he would become if he lost the one trait that distinguished him from everybody else, no matter how perverse that decision seemed to others.”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 4 “Dependency Principle” section V (p. 129).

“What they had talked themselves into, they could be silent out of.”

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Iain Banks Culture series

Zdroj: Culture series, Use of Weapons (1990), Chapter IX (p. 157).

“An excess of boringness does not make a thing interesting except in the driest academic sense. A place is not boring if you have to look really hard for something which is interesting. If there is absolutely nothing interesting about any particular place, then that is a perfectly interesting and quintessentially un-boring place.”

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Iain Banks

“State of the Art” (p. 112)
Short fiction, The State of the Art (1991)

“There came a point when if a conspiracy was that powerful and subtle it became pointless to worry about it.”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 5 “Kiss the Blade” section III (p. 149).

“Any such inklings were like a few scattered grains of truth dissolved in an ocean of nonsense, and were anyway generally inextricably bound up with patently paranoid ravings which served only to devalue the small amounts of sense and pertinence with which they were associated.”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 11 “Regarding Gravious” section VI (p. 365).

“Perhaps my certainty is misplaced.”

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Iain Banks Culture series

Epilogue (p. 399)
Culture series, Inversions (1998)

“Tishlin’s dubious look indicated he wasn’t totally convinced this phrase contributed enormously to the information-carrying capacity of the language.”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 2 “Not Invented Here” section II (p. 58).

“There is always the right of the strong to take the weak and the rich to take the poor and the powerful to take those who have no power. UrLeyn may have written down our laws and changed a few of them, but the laws that still bind us to the animals cut the deepest. Men compete for power, they strut and parade and they impress their fellows with their possessions and they take the women they can. None of that has changed. They may use weapons other than their hands and teeth, they may use other men and they may express their dominance in money, not other symbols of power and glamour, but…”

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Iain Banks Culture series

Zdroj: Culture series, Inversions (1998), Chapter 20 (p. 335)

“Beauty is something that disappears when you try to define it.”

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Iain Banks

Zdroj: Short fiction, The State of the Art (1991) “State of the Art” (p. 128)

“Some of us prefer history to legends, lady,” DeWar said heavily, “and sometimes everybody can be wrong.”

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Iain Banks Culture series

Zdroj: Culture series, Inversions (1998), Chapter 2 (p. 37)

“That was how divorced from the human scale modern warfare had become. You could smash and destroy from unthinkable distances, obliterate planets from beyond their own system and provoke stars into novae from light-years off…and still have no good idea why you were really fighting.”

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Iain Banks Culture series

Zdroj: Culture series, Consider Phlebas (1987), Chapter 2 “The Hand of God 137” (p. 32).

“You can draw the blinds in a brothel, but people still know what you’re doing.”

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Iain Banks Culture series

Zdroj: Culture series, Inversions (1998), Chapter 4 (p. 69)

“If you have any helpful suggestions I’d be pleased to hear them. If all you can do is make snide insinuations then it would probably benefit all concerned if you bestowed the fruits of your prodigious wit on someone with the spare time to give them the consideration they doubtless deserve.”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 7 “Tier” section III (p. 219).

“Look at these humans! How could such glacial slowness even be called life? An age could pass, virtual empires rise and fall in the time they took to open their mouths to utter some new inanity!”

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Iain Banks Culture series

Zdroj: Culture series, Excession (1996), Chapter 7 “Tier” section II (p. 212).

“We created something a little closer to perfection than ourselves; maybe that’s the only way to progress. Let them try to do the same. I doubt they can, so they will always be less as well as more than us. It’s all just a sum, a whispered piece of figuring lost in the empty blizzards of white noise howling through the universe, a brief oasis in an infinite desert, a freak bit of working out in which we have transcended ourselves, and they are only the remainder.”

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Iain Banks

“Descendant” (pp. 47-48)
Short fiction, The State of the Art (1991)

““I think I know the real reason.”
“Which is?”
“Alcohol in the dust clouds. Goddamn stuff is everywhere. Any lousy species ever invents the telescope and the spectroscope and starts looking in between the stars, what do they find?” He knocked the glass on the table. “Loads of stuff, but much of it alcohol.” He drank from the glass. “Humanoids are the galaxy’s way of trying to get rid of all that alcohol.””

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Iain Banks Culture series

Zdroj: Culture series, Use of Weapons (1990), Chapter IX (p. 148).

“Reason shapes the future, but superstition infects the present.”

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Iain Banks

“Piece” (p. 75)
Short fiction, The State of the Art (1991)