This is taken from the Guardian Obituary.
If you haven’t read his work, I can strongly recommend it, challenging with strong narratives, plot twists and memorable characters.
The writer Iain Banks, who has died aged 59, had already prepared his many admirers for his death. On 3 April he announced on his website that he had inoperable gall bladder cancer, giving him, at most, a year to live. The announcement was typically candid and rueful. It was also characteristic in another way: Banks had a large web-attentive readership who liked to follow his latest reflections as well as his writings. Particularly in his later years, he frequently projected his thoughts via the internet. There can have been few novelists of recent years who were more aware of what their readers thought of their books; there is a frequent sense in his novels of an author teasing, testing and replying to a readership with which he was pretty familiar.
His first published novel, The Wasp Factory, appeared in 1984, when he was 30 years old, though it had been rejected by six publishers before being accepted by Macmillan. It was an immediate succès de scandale. The narrator is the 16-year-old Frank Cauldhame, who lives with his taciturn father in an isolated house on the north-east coast of Scotland. Frank lives in a world of private rituals, some of which involve torturing animals, and has committed several murders. The explanation of his isolation and his obsessiveness is shockingly revealed in one of the culminating plot twists for which Banks was to become renowned.
It was followed by Walking on Glass (1985), composed of three separate narratives whose connections are deliberately made obscure until near the end of the novel. One of these seems to be a science fiction narrative and points the way to Banks’s strong interest in this genre. Equally, multiple narration would continue to feature in his work.
The next year’s novel, The Bridge, featured three separate stories told in different styles: one a realist narrative about Alex, a manager in an engineering company, who crashes his car on the Forth road bridge; another the story of John Orr, an amnesiac living on a city-sized version of the bridge; and a third, the first-person narrative of the Barbarian, retelling myths and legends in colloquial Scots. In combining fantasy and allegory with minutely located naturalistic narrative, it was clearly influenced by Alasdair Gray’s Lanark (1981). It remained the author’s own avowed favourite.
His first science fiction novel, Consider Phlebas, was published in 1987, though he had drafted it soon after completing The Wasp Factory. In it he created The Culture, a galaxy-hopping society run by powerful but benevolent machines and possessed of what its inventor called “well-armed liberal niceness”. It would feature in most of his subsequent sci-fi novels. Its enemies are the Idirans, a religious, humanoid race who resent the benign powers of the Culture. In this conflict, good and ill are not simply apportioned. Banks provided a heady mix of, on the one hand, action and intrigue on a cosmic scale (his books were often called “space operas”), and, on the other, ruminations on the clash of ideas and ideologies.
For the rest of his career literary novels would alternate with works of science fiction, the latter appearing under the name “Iain M Banks” (the “M” standing for Menzies). Banks sometimes spoke of his science fiction books as a writerly vacation from the demands of literary fiction, where he could “pull out the stops”, as he himself put it. Player of Games (1988) was followed by Use of Weapons (1990). The science fiction employed some of the narrative trickery that characterised his literary fiction: Use of Weapons, for instance, featured two interleaved narratives, one of which moved forward in time and the other backwards. Their connectedness only became clear with a final, somewhat outrageous, twist of the narrative. His many fans came to relish these tricks.