It’s now a week — more, by the time I finish and post this — since we heard about the death of Iain Banks. _Everyone_ has written about this. From [Ken McLeod’s reminder in The Guardian](http://m.guardian.co.uk/books/2013/jun/10/iain-banks-ken-macleod-science-fiction) that he was an SF writer first and foremost, through [personal tributes](http://andrewcferguson.com/2013/06/16/so-long-iain/) by [some of my friends](http://www.list.co.uk/article/51809-iain-banks-obituary/) to [Stuart Kelly’s “final interview”](http://www.guardian.co.uk/books/2013/jun/15/iain-banks-the-final-interview) in The Guardian (and not forgetting [Kirsty Wark’s “final interview”](http://www.bbc.co.uk/iplayer/episode/b02xf70k/Iain_Banks_Raw_Spirit/), which should be around on iPlayer for a while).
Now it’s my turn. I didn’t know him personally at all, despite having friends who did. Of course I would echo all the comments to the effect that he was a friendly and entertaining speaker, having seen him at several conventions and readings.
But it’s the books, man, the books.
I’m not totally sure when I first heard of The Wasp Factory, but I’d be willing to bet it was from my friend [Andrew](http://www.andrewjwilsonpublishingservices.co.uk/). I think I remember him mentioning it, but maybe I had heard of it already. Either way, sometime around 86 or 87, I’d say, I started reading his books. I know that the first three at least were already out (and in paperback). Maybe Consider Phlebas, too. And I loved them, especially The Bridge and Espedair Street. It was clear — even before he started publishing explicit science fiction with the added initial — that he was one of us. The Bridge’s fantasy sequences, and those of Walking on Glass, can be read as the products of damaged minds; but they’re better if you read them as at being about what’s really happening to their protagonists.
The first three SF novels are fine and dandy, but it wasn’t them that really changed me. Changed me, that is, into a buyer of hardback books — and an on-release buyer of Banksie. But it was at a science-fiction convention that it happened. And all it took was a friend’s recommendation, and a single line.
It must have been 1992, so the convention would have been Illumination, the [Eastercon](http://en.wikipedia.org/wiki/Eastercon) in Blackpool. Though it could have been [Novacon](https://en.wikipedia.org/wiki/Novacon) that year. Either way, I had seen the new one by Banksie in the book room, but decided to wait for the paperback, as was my wont in those days. Hardbacks seemed incredibly expensive, at maybe fifteen or sixteen pounds.
Luckily I prevaricated to my friend [Steve](http://www.ma.hw.ac.uk/~steve/). He said, “You should buy it, Martin.” I resisted still. He said, “Just read the first line and you’ll buy it.”
I did. It was, “It was the day my grandmother exploded.” I bought The Crow Road instantly, and have bought every subsequent Banksie in hardback on release. Except for Raw Spirit, which came out just before Christmas (and surprised me by appearing in WH Smith’s when I hadn’t even heard it existed). I didn’t buy it right away, but received it a few days later as a perfectly-targeted Secret Santa present from a work colleague.
So I just want to thank those friends, and thank Iain’s memory for a great, great body of work. I can’t express how sad I am that we won’t hear from him again.
Oh, and calling him “Banksie”? That has always been the way in the SF community, and he used it himself. Always with the “ie”; that guy with “y” ending is just some blow-in. I’m sure it comes from having been “Banks, I” at school; just as Daniel Weir of Espedair Street got his nickname “Weird” from being “Weir, D”.