Literary Significance & Criticism
Like many of Banks' characters, from Frank Cauldhame in The Wasp Factory to Prentice McHoan in The Crow Road, Isis engages in a half-unconscious search for knowledge which will inevitably turn her world upside down. (The novel thus becomes a type of Bildungsroman.)
Banks portrays the cult largely sympathetically, especially given its publication just after the Waco Siege in 1993 (which Yolanda discusses within the novel). Banks ensures that the Luskentyrian theology (in which Isis fervently believes at the start of the book) has coherence and consistency, even as events cause her to start to doubt.
Banks has called it:
a book about religion and culture written by a dedicated evangelical atheist — I thought I was very kind to them... Essentially, Isis makes the recognition that the value of the Luskentyrian cult is in their community values rather than their religious ones. She recognises that efficiency isn't everything, that people not profit are what matters.
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Famous quotes containing the words literary, significance and/or criticism:
“Criticism occupies the lowest place in the literary hierarchy: as regards form, almost always; and as regards moral value, incontestably. It comes after rhyming games and acrostics, which at least require a certain inventiveness.”
—Gustave Flaubert (1821–1880)
“The hypothesis I wish to advance is that ... the language of morality is in ... grave disorder.... What we possess, if this is true, are the fragments of a conceptual scheme, parts of which now lack those contexts from which their significance derived. We possess indeed simulacra of morality, we continue to use many of the key expressions. But we have—very largely if not entirely—lost our comprehension, both theoretical and practical, of morality.”
—Alasdair Chalmers MacIntyre (b. 1929)
“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
—George Steiner (b. 1929)