Mediating the World in the Novels of Iain Banks: The Paradigms of Fiction

Cover
Contents
Acknowledgements
Introduction: The Case of Iain (M.) Banks
CHAPTER 1 Ab Ovo. The Wasp Factory as the Blueprint of Fictional Worlds
	1.1. Model ONE: Alternative Worlds
	1.2. Model TWO: Community Worlds
	1.3. Model THREE: Mythical Worlds
	1.4. Model FOUR: Apocalyptic Worlds
CHAPTER 2 Alternative Worlds Walking on Glass, The Bridge, and Transition
	2.1 Language, Literature, and Multiple Reality in Walking on Glass
	2.2. Into the Subconscious: The Dream Worlds of The Bridge
	2.3. Across the Multiverse: The Many Worlds of Transition
CHAPTER 3 Community Worlds The Crow Road, The Steep Approach to Garbadale, Espedair Street, and Stonemouth
	3.1. The Wor(l)ds of Magic, Memory, and Truth in The Crow Road
	3.2. Gardens of Love and Communities of the Heart in The Steep Approach to Garbadale
	3.3. The Land of Music and the Music of Homeland in Espedair Street
	3.4. Big Movies and Private Narratives in Stonemouth
CHAPTER 4 Mythical Worlds. Whit, Canal Dreams, and The Business
	4.1. Into the Unholy Lands: the Pilgrimage of a Goddess in Whit
	4.2. A Female Samurai’s Journey to the Centre in Canal Dreams.
	4.3. The Virgin, the Mother, the Crone: the Return of a Mythical Woman in The Business.
CHAPTER 5 Apocalyptic Worlds. A Song of Stone, Complicity, and Dead Air
	5.1. King Arthur in Distress: Post-apocalyptic Transgressions in A Song of Stone
	5.2. From Virtual Reality to the Waste Land: Public Apocalypse and Post-traumatic Syndrome in Complicity
	5.3. On-Screen Catastrophes and Post-apocalyptic Romances in Dead Air
CHAPTER 6 Coda: The Quarry
CONCLUSION
Bibliography
Index