"You need to read more science fiction. Nobody who reads science fiction comes out with this crap about the end of history"
— Iain M. Banks

"Oh, they never lie. They dissemble, evade, prevaricate, confound, confuse, distract, obscure, subtly misrepresent and willfully misunderstand with what often appears to be a positively gleeful relish and are generally perfectly capable of contriving to give one an utterly unambiguous impression of their future course of action while in fact intending to do exactly the opposite, but they never lie. Perish the thought."
— Iain M. Banks (Look to Windward)

"All reality is a game. Physics at its most fundamental, the very fabric of our universe, results directly from the interaction of certain fairly simple rules, and chance; the same description may be applied to the best, most elefant and both intellectually and aesthetically satisfying games. By being unknowable, by resulting from events which, at the sub-atomic level, cannot be fully predicted, the future remains makkeable, and retains the possibility of change, the hope of coming to prevail; victory, to use an unfashionable word. In this, the future is a game; time is one of the rules. Generally, all the best mechanistic games - those which can be played in any sense "perfectly", such as a grid, Prallian scope, 'nkraytle, chess, Farnic dimensions - can be traced to civilisations lacking a realistic view of the universe (let alone the reality). They are also, I might add, invariably pre-machine-sentience societies.

The very first-rank games acknowledge the element of chance, even if they rightly restrict raw luck. To attempt to construct a game on any other lines, no matter how complicated and subtle the rules are, and regardless of the scale and differentiation of the playing volume and the variety of the powers and attibutes of the pieces, is inevitably to schackle oneself to a conspectus which is not merely socially but techno-philosophically lagging several ages behind our own. As a historical exercise it might have some value, As a work of the intellect, it's just a waste of time. If you want to make something old-fashioned, why not build a wooden sailing boat, or a steam engine? They're just as complicated and demanding as a mechanistic game, and you'll keep fit at the same time."
— Iain M. Banks (The Player of Games)

"After doing extensive research, I can definitely tell you that single malt whiskies are good to drink."
— Iain M. Banks (Raw Spirit)

"Even galaxy-spanning anarchist utopias of stupefying full-spectrum civilisational power have turf wars within their unacknowledged militaries."
— Iain M. Banks (Matter)

"I'm too drunk to recall much of what I've said. Which, come to think of it, is probably just as well, judging by the way people who are normally quite sensible dissolve into gibbering, rude, opinionated and bombastic idiots once the alcohol molecules in their bloom-stream outnumber the neutrons, or whatever. Luckily, one only notices this if one stays sober oneself, so the solution is as pleasant (at the time, at least) as it is obvious."
— Iain M. Banks (The Wasp Factory: A Novel)

"Oh, they never lie. They dissemble, evade, prevaricate, confound, confuse, distract, obscure, subtly misrepresent and wilfully misunderstand with what often appears to be a positively gleeful relish and are generally perfectly capable of contriving to give one an utterly unambiguous impression of their future course of action while in fact intending to do entirely the opposite, but they never lie. Perish the thought."
— Iain M. Banks (Look to Windward)

"Stories set in the Culture in which Things Went Wrong tended to start with humans losing or forgetting or deliberately leaving behind their terminal. It was a conventional opening, the equivalent of straying off the path in the wild woods in one age, or a car breaking down at night on a lonely road in another."
— Iain M. Banks (The Player of Games)

"What do I really want? he thinks. This is, of course, an extremely good question. It was just such a pity that, life being as it tended to be, it so rarely came as part of a matched pair, with an extremely good answer.

--The Steep Approach to Garbadale"
— Iain M. Banks

""The usual example given to illustrate an Outside Context Problem was imagining you were a tribe on a largish, fertile island; you'd tamed the land, invented the wheel or writing or whatever, the neighbours were cooperative or enslaved but at any rate peaceful and you were busy raising temples to yourself with all the excess productive capacity you had, you were in a position of near-absolute power and control which your hallowed ancestors could hardly have dreamed of and the whole situation was just running along nicely like a canoe on wet grass... when suddenly this bristling lump of iron appears sailless and trailing steam in the bay and these guys carrying long funny-looking sticks come ashore and announce you've just been discovered, you're all subjects of the Emperor now, he's keen on presents called tax and these bright-eyed holy men would like a word with your priests." "
— Iain M. Banks

"Outright destruction of rebellious ships or habitats - pour encouragez les autres - of course remains an option for the controlling power, but all the usual rules of uprising realpolitik still apply, especially that concerning the peculiar dialectic of dissent which - simply stated - dictates that in all but the most dedicatedly repressive hegemonies, if in a sizable population there are one hundred rebels, all of whom are then rounded up and killed, the number of rebels present at the end of the day is not zero, and not even one hundred, but two hundred or three hundred or more; an equation based on human nature which seems often to baffle the military and political mind."
— Iain M. Banks

"Look on the happy side, think of the good things. Hadn't it been clever? Yes, it had."
— Iain M. Banks (Consider Phlebas)

"As long as a film stays unmade, the book is entirely yours, it belongs to the writer. As soon as you make it into a film, suddenly more people see it than have ever read the book."
— Iain M. Banks

"I'm not a great believer in awards-of course the fact that I've never won one has nothing to do with it at all!"
— Iain M. Banks

"It was tearing across the level ground in great leaps, heading right at me and seeming to shake and shiver in mid-air with every bound. It was coming at me like a bullet, head shaking, lips curled back, teeth long and yellow and by far the biggest I'd ever seen on a rabbit, live or dead. Its eyes looked like coiled slugs. Blobs of red arced from its left haunch with every pouncing leap; it was almost on me, and I was sat there staring."
— Iain M. Banks (The Wasp Factory)

"There has seldom if ever a shortage of eager young males prepared to kill and die to preserve the security, comfort and prejudices of their elders, and what you call heroism is just an expression of this simple fact; there is never a scarcity of idiots."
— Iain M. Banks

"Fuck every cause that ends in murder and children crying."
— Iain M. Banks (Against A Dark Background)

"People were always sorry. Sorry they had done what they had done, sorry they were doing what they were doing, sorry they were going to do what they were going to do; but they still did whatever it is. The sorrow never stopped them; it just made them feel better. And so the sorrow never stopped."
— Iain M. Banks (Against A Dark Background)

"I held my crotch, closed my eyes and repeated my secret catechism."
— Iain M. Banks (The Wasp Factory: A Novel)

"It never ceased to amaze him how quickly a small child's face could turn from peach to beetroot."
— Iain M. Banks (The Crow Road)

"I let myself into the cellar, locked the door behind me. The cellar was cold. I found the whisky, let myself out of the cellar and locked it, turned all the lights out, gave Mrs McSpadden the bottle, accepted a belated new-year kiss from her, then made my way out through the kitchen and the corridor and the crowded hall where the music sounded loud and people were laughing, and out through the now almost empty entrance hall and down the steps of the castle and down the driveway and down to Gallanach, where I walked along the esplanade - occasionally having to wave to say 'Happy New Year' to various people I didn't know - until I got to the old railway pier and then the harbour, where I sat on the quayside, legs dangling, drinking my whisky and watching a couple of swans glide on black, still water, to the distant sound of highland jigs coming from the Steam Packet Hotel, and singing and happy-new-year shouts echoing in the streets of the town, and the occasional sniff as my nose watered in sympathy with my eyes."
— Iain M. Banks (The Crow Road)

"God, what did any of it matter, in the end? You lived; you died. You were as indistinguishable from a distance as one of these blades of grass, and who was to say more important? Growing, surrounded by your kin, you out-living some, some out-living you. You didn't have to adjust the scale much, either, to reduce us to the sort of distant irrelevance of this bedraggled field. The grass was lucky if it grew, was shone upon and rained upon, and was not burned, and was not pulled up by the roots, or poisoned, or buried when the ground was turned over, and some bits just happened to be on a line that humans wanted to walk on, and so got trampled, broken, pressed flat, with no malice; just effect."
— Iain M. Banks (The Crow Road)

"Was Fergus Urvill anywhere, still? Apart from the body - whatever was left of him physically, down there in that dark, cold pressure - was there anything else? Was his personality intact somehow, somewhere?

I found that I couldn't believe that it was. Neither was dad's, neither was Rory's, nor Aunt Fiona's, nor Darren Watt's. There was no such continuation; it just didn't work that way, and there should even be a sort of relief in the comprehension that it didn't. We continue in our children, and in our works and in the memories of others; we continue in our dust and ash. To want more was not just childish, but cowardly, and somehow constipatory, too. Death was change; it led to new chances, new vacancies, new niches and opportunities; it was not all loss."
— Iain M. Banks (The Crow Road)

"It was the day my grandmother exploded."
— Iain M. Banks (The Crow Road)

"I'm not a great believer in awards-of course the fact that I've never won one has nothing to do with it at all! "
— Iain M. Banks