From Publishers Weekly
Banks's labyrinthine and devious ninth Culture space opera novel (after 2008's Matter) adeptly shifts perspective between vast concepts and individual passions. The blissfully disorganized, galaxy-spanning Culture has fabulous technology that gives human and alien entities freedom to choose who and what they want to be. When sex slave Lededje Y'breq is murdered by a politician on the planet Sichult, the artificial intelligence running one of the Culture's immense starships resurrects her so she can seek revenge. Meanwhile, the Culture is uneasily watching the conflict over whether to preserve virtual Hells for the souls of "sinners" or give them the release of death. Leaping with jaw-dropping speed from character to character and from reality to virtuality, the narrative swiftly pulls these concerns together. New readers may be taken aback by the rapid pace, but fans will dive right in and won't come up for air until the final page. (Nov.) (c)
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Iain M. Banks’s Culture novels, one suspects, won’t be fully appreciated by any but avid SF readers for quite some time, even if the author routinely reaches beyond classification. His world building is never less than spectacular. The AI components of his stories prompt comparisons to Philip K. Dick; his rich backdrops certainly influenced those of Alastair Reynolds and China Mieville. Yet what separates Banks from the ranks of other SF writers is the human component that thrives postsingularity—after technology has made its creators obsolete. Banks’s trademark—big ideas and equally compelling individual stories mingling seamlessly—is on full display here.