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Banks, Iain. 1990a. Walking on Glass. London: Abacus.
_____. 1990b. The Bridge. London: Abacus.
_____. 1998. The Wasp Factory. New York: Simon & Schuster, 1998.
_____. 2004. Raw Spirit: In Search of the Perfect Dram. London: Arrow Books.
_____. 2008. “Out of This World.” The Guardian, 11 July. http://www.theguardian.com/books/2008/jul/12/saturdayreviewsfeatres.guardianreview5.
_____. 2010. “Small Step Towards a Boycott of Israel.” The Guardian, 2 June. http://www.theguardian.com/world/2010/jun/03/boycott-israel-iain-banks.
_____. 2013a. “A Personal Statement from Iain Banks.” Author’s Website, 3 April. http://www.iain-banks.net/2013/04/03/a-personal-statement-from-iain-banks/
_____. 2013b. “Why I’m Supporting a Cultural Boycott of Israel.” The Guardian, 5 April. http://www.theguardian.com/books/2013/apr/05/iain-banks-cultural-boycott-israel.
Banks, Iain M. 1989. The Player of Games. London: Orbit.
_____. 1991. Consider Phlebas. London: Orbit.
_____. 1992. Use of Weapons. London: Orbit.
_____. 1997. Excession. London: Orbit.
_____. 1998. Inversions. London: Orbit.
_____. 2001. Look to Windward. London: Orbit.
_____. 2004a. The State of the Art. San Francisco: Night Shade Books.
_____. 2004b. “A Few Notes on the Culture.” Banks 2004a, 167–188.
_____. 2008. Matter. New York: Orbit.
_____. 2010. Surface Detail. New York: Orbit.
_____. 2012. The Hydrogen Sonata. New York: Orbit.
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Branscombe, Mary. 1996a. “Excession.” SFX 14 (July): 80–81.
_____. 1996b. “Ship Shape.” SFX 14 (July): 24–25.
Brown, Anthony. 1998. “Highlanders Two.” SFX 40 (July): 52–56.
Brown, Carolyn. 1996. “Utopias and Heterotopias: The ‘Culture’ of Iain M. Banks.” Littlewood and Stockwell 1996, 57–74.
Brown, Chris. 2001. “‘Special Circumstances’: Intervention by a Liberal Utopia.” Millennium: Journal of International Studies 30.625. http://mil.sagepub.com/content/30/3/625.citation.
Brown, James. 2003. “Not Losing the Plot: Politics, Guilt, and Storytelling in Banks and MacLeod.” Butler and Mendlesohn 2003, 55–75.
Butler, Andrew M. 1999. “Strange Case of Mr Banks: Doubles and The Wasp Factory.” Foundation 76 (Summer): 17–27.
_____. 2003. “Thirteen Ways of Looking at the British Boom.” Science Fiction Studies 30.3: 374–393.
Butler, Andrew M., and Farah Mendlesohn, eds. 2003. The True Knowledge of Ken MacLeod. Reading, UK: Science Fiction Foundation.
Cabell, Craig. 2014. Iain Banks: Student Without Portfolio. EBook. Bellack Productions.
Chivers, Tom. 2013a. “For years, Iain M Banks has done for sci-fi what George RR Martin did for fantasy. He is two of our finest writers.” The Telegraph, 3 April. http://blogs.telegraph.co.uk/news/tomchiversscience/100210315/for-years-iain-m-banks-has-done-for-sci-fi-what-george-rr-martin-did-for-fantasy-he-is-two-of-our-finest-writers/.
_____. 2013b. “Goodbye, Iain Banks: It Takes a Serious Man to Laugh at Himself.” The Telegraph, 10 June. http://blogs.telegraph.co.uk/news/tomchiversscience/100221088/goodbye-iain-banks-it-takes-a-serious-man-to-laugh-at-himself/.
Cobley, Michael. 1990. “Eye to Eye: An Interview with Iain Banks.” Science Fiction Eye 2.1: 22–32.
Colebrook, Martyn. 2010. “Reading Double, Writing Double: The Fiction of Iain (M.) Banks.” The Bottle Imp 8 (November). http://www.arts.gla.ac.uk/ScotLit/ASLS/SWE/TBI/TBIIssue8/Colebrook.pdf.
_____. 2013. “Lanark and The Bridge: Narrating Scotland as Post-Industrial Space.” Colebrook and Cox 2013, 28–44.
Colebrook, Martyn, and Katharine Cox, eds. 2013. The Transgressive Iain Banks: Essays on a Writer Beyond Borders. Jefferson, NC: McFarland.
Colebrook, Martyn, Katharine Cox, and David Haddock. 2013. “Introduction.” Colebrook and Cox 2013, 1–8.
Clute, John. 1993. “Iain M[enzies] Banks.” Clute and Nicholls 1993, 88.
_____. 1995a. Look at the Evidence. New York: Serconia Press.
_____. 1995b. “Marching Initials.” Clute 1995a, 28–30.
_____. 1995c. “Space Aria Caught in Larynx. Thousands Flee.” Clute 1995a, 97–99.
_____. 1995d. “Use of Cormorants.” Clute 1995a, 291–292.
_____. 1995e. “Angel Tricks.” Clute 1995a, 231–233.
_____. 2003. “Science Fiction from 1980 to the Present.” James and Mendlesohn 2003, 64–78.
_____. 2009a. Canary Fever: Reviews. Harold Wood: Beccon Publications.
_____. 2009b. “It Matters.” Clute 2009a, 257–259.
_____. 2011. Pardon This Intrusion: Fantastika in the World Storm. Harold Wood: Beccon Publications.
_____. 2014a. Stay. Harold Wood: Beccon Publications.
_____. 2014b. “Journey.” Clute 2014a, 162–165.
Clute, John, and Peter Nicholls, eds. 1993. The Encyclopedia of Science Fiction, 2d ed. London: Orbit.
_____, and _____, eds. 2014. SFE: The Encyclopedia of Science Fiction, 3d ed. http://www.sf-encyclopedia.com.
Daoust, Phil. 1997. “Iain Banks writes books about sex and drugs. Iain M Banks is a sci-fi nerd. Are they by any chance related?” The Guardian, 20 May. http://www.theguardian.com/books/1997/may/20/fiction.sciencefictionfantasyandhorror.
Dougherty, Stephen. 2014. “Hybrid Banks.” Science Fiction Studies 41.2: 443–445.
Dozois, Gardner, and Jonathan Strahan. 2007a. “Introduction.” Dozois and Strahan 2007b, 1–5.
_____, and _____, eds. 2007b. The New Space Opera: All New Stories of Science Fiction Adventure. New York: EOS.
Duggan, Robert. 2007. “Iain M. Banks, Postmodernism, and the Gulf War.” Extrapolation 48.3: 561–578.
Fitting, Peter. 2014. “Demand the Impossible and the Imagination of a Utopian Alternative.” Moylan 2014, 232–235.
Gaiman, Neil. 2013. “Iain Banks Was One of Us, Whatever That Meant.” The Guardian, 9 June. http://www.theguardian.com/books/2013/jun/09/neil-gaiman-iain-banks
Garnett, David S. 1989. “Interview with Iain M. Banks.” Journal Wired (Winter): 51–69.
Gevers, Nick. 2000. “Look to Windward.” SF Site. https://www.sfsite.com/11b/lw93.htm.
Gramstad, Thomas. 2000. “The Culture Is the Answer.” The Laissez Faire City Times 4.23. http://www.i-dig.info/culture/cultureistheanswer.html.
Gray, Alasdair. 2011. Lanark: A Life in Four Books. London: Canongate.
Greenland, Colin. 1990. “Use of Weapons.” Foundation 50 (Autumn): 90–94.
Guerrier, Simon. 1999. “Culture Theory: Iain M. Banks’s ‘Culture’ as Utopia.” Foundation 76 (Summer): 28–37.
Hardesty, William H. 2000. “Space Opera Without the Space: the Culture Novels of Iain M. Banks.” Westfahl 2000, 115–122.
_____. 2009. “Mercenaries and Special Circumstances: Iain M. Banks’s Counter-Narrative of Utopia, Use of Weapons.” Foundation 76 (Summer): 39–47.
Harrison, M. John. 2003. “Why I Write Space Opera.” Locus 51.2: 43–44.
Hoggard, Liz. 2007. “Iain Banks: The Novel Factory.” The Independent, 18 February. http://www.independent.co.uk/news/people/profiles/iain-banks-the-novel-factory-436865.html.
Horwich, David. 2002. “Culture Clash: Ambivalent Heroes and the Ambiguous Utopia in the Work of Iain M. Banks.” Strange Horizons, 21 January. http://www.strangehorizons.com/2002/20020121/culture_clash.shtml.
Hughes, Colin. 1999. “Doing the Business.” The Guardian, 7 August. http://www.theguardian.com/books/1999/aug/07/fiction.iainbanks.
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Jones, Bethan. 2013. “Imperfect Doubles: The Recasting of Place, Object and Character in the Dream Narratives of The Bridge.” Colebrook and Cox 2013, 76–86.
Kelly, Stuart. 2013. “Iain Banks: The Final Interview.” The Guardian, 14 June. http://www.theguardian.com/books/2013/jun/15/iain-banks-the-final-interview.
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Langford, David. 1998. “Inversions.” SFX 40 (July): 108.
_____. 2003. Up Through an Empty House of Stars: Reviews and Essays 1980–2002. Holicong, PA: Cosmos Books.
Leishman, David. 2009. “Coalescence and the Fiction of Iain Banks.” Études Écossaises 12. http://etudesecossaises.revues.org/208.
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_____. 2011. “Surface Detail.” Locus 66.1: 21, 59.
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_____. 2003b. “Singularity Skies.” Locus 51.2: 41–42.
_____. 2013a. “Iain Banks: A Science Fiction Star First and Foremost.” The Guardian, 10 June. http://www.theguardian.com/books/2013/jun/10/iain-banks-ken-macleod-science-fiction.
_____. 2013b. “Use of Calculators.” The Early Days of a Better Nation, 26 July. http://kenmacleod.blogspot.com/2013/07/use-of-calculators.html.
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_____. 1988. “The Player of Games.” Locus 21.12: 17.
_____. 1989. “The State of the Art.” Locus 23.2: 13.
_____. 1990. “Use of Weapons.” Locus 25.2: 15–17.
_____. 1996. “Excession.” Locus 37.3: 25–27.
_____. 1998. “Inversions.” Locus 41.3: 20.
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_____. 2000. Scraps of the Untainted Sky. Boulder: Westview Press.
_____. 2014a. Demand the Impossible: Science Fiction and the Utopian Imagination. Ed. Raffaella Baccolini. Bern: Peter Lang AG.
_____. 2014b. “Introduction to the Classics Edition.” Moylan 2014a, ix–xxviii.
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_____. 2014. “Miscellaneous Reflections on the ‘Critical Utopia.’” Moylan 2014a, 242–247.
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_____. 2003. “Space Opera.” James and Mendlesohn 2003, 197–207.
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