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The Wasp Factory [I. Banks]

If you’ve read Iain Banks‘s novel, you’ll enjoy the BBC-Radio 4 interview.

→ http://www.bbc.co.uk/programmes/b016w0nf

E_kiteIncludes  an excerpt from Chapter 8 read by Iain Banks himself. Transcript below . . .

Iain Banks meets James Naughtie and readers at the National Library of Scotland in Edinburgh to talk about his debut novel The Wasp Factory, first published in 1984.

This shocking novel is an insight into the life of sixteen year old Frank, a brutal and disturbed teenager who enjoys killing animal and insects all too much. But Frank isn’t alone in his madness – his brother Eric has just escaped from an asylum, and is gradually making his way back home to the remote island house Frank shares with his father Angus. Banks’ major achievement is to make the reader feel sorry for this character of Frank and as one audience member acknowledges, to make us laugh.

Iain talks about how he drew on his own childhood experiences of dam-building, kite-making and experimenting with explosives to create the character of Frank – but that is where the similarities end. Iain’s own boyhood was a happy one, it was purely his desire to shock as an emerging author that led him to Frank. He says he identifies with none of the characters in the story and describes his writing in the Wasp Factory as ‘exaggeration’. Readers who know the Wasp Factory will remember its startling ending, where it is disclosed that Frank is not all he seems, and Iain reveals how this part of the story came to him.

¤  Chapter 8:  The Wasp Factory   [excerpt _ count 10.15…]

The Wasp Factory covers an area of several square metres in an irregular and slightly ramshackle tangle of metal, wood, glass and plastic. It is all based around the face of the old clock which used to hang over the door of the Royal Bank of Scotland in Porteneil.
 
The clock face is the most important thing I have ever recovered from the town dump. I found it there during the Year of the Skull and rolled it home down the path to the island and rumbled it over the footbridge. I stored it in the shed until my father was away for the day, then I strained and sweated all day to get it up into the loft. It is made of metal and is nearly a metre in diameter; it is heavy and almost unblemished; the numerals are in roman script and it was made along with the rest of the clock in Edinburgh in 1864, one hundred years exactly before my birth. Certainly not a coincidence.
 
Of course, as the clock looked both ways, there must have been another face, the other side of the clock; but, although I scoured the dump for weeks after I found the face I do have, I never did discover the other one, so that it, too, is part of the mystery of the Factory – a little Grail legend of its own. Old Cameron in the ironmonger’s shop in the town told me that he heard a scrap- metal dealer from Inverness took the workings of the clock, so perhaps the other face was melted down years ago, or now adorns the wall of some smart house on the Black Isle built from the profits of dead cars and the varying price of lead. I’d rather the former.
 
There were a few holes in the face which I soldered up, but I left the hole in the dead centre where the mechanism connected with the hands, and it is through that the wasp is let into the Factory. Once there it can wander about the face for as long as it likes, inspecting the tiny candles with its dead cousins buried inside if it likes, or ignoring them if it would rather.
 
Having made its way to the edge of the face, though, where I have sealed it with a wall of plywood two inches high, topped with a metre-circle of glass I had the glazier in the town make specially, the wasp can enter one of twelve corridors through little wasp-sized doors, one opposite each of those – to the wasp- vast numerals. If the Factory so chooses, the weight of the wasp trips a delicate see-saw trigger made from thin pieces of tin can, thread and pins, and a tiny door closes behind the insect, confining it to the corridor it has chosen. Despite the fact that I keep all the door mechanisms well oiled and balanced, and repair and test them until the slightest tremor sets them off – I have to tread very lightly when the Factory is doing its slow and deadly work – sometimes the Factory does not want the wasp in its first choice of corridor, and lets it crawl back out on to the face again.
 
Sometimes the wasps will fly, or crawl upside down on the bottom of the circle of glass, sometimes they stay a long time by the closed-off hole in the centre through which they enter, but sooner or later they all choose a hole and a door which work, and their fate is sealed.

♦  An animated introduction to the imagined movie adaptation of The Wasp Factory, set to the music of Leonard Cohen’s Hallelujah by Jeff Buckley  ↓  Chapter 5:  A Bunch of Flowers 

… That summer I took Esmerelda kiting quite a lot. I let her play with a small, single-string kite while I used a stunter. I would send it swooping over and under hers, or dive it down to the sands while I stood on a dune cliff, pulling the kite down to nick tall towers of sand I’d built, then pulling up again, the kite trailing a spray of sand through the air from the collapsing tower. Although it took a while and I crashed a couple of times, once I even knocked a dam down with a kite. I swooped it so that on each pass it caught the top of the dam wall with one corner, gradually producing a nick in the sand barrier which the water was able to flow through, quickly going on to overwhelm the whole dam and the sand-house village beneath.

Then one day I was standing there on a dune top, straining against the pull of the wind in the kite, gripping and hauling and sensing and adjusting and twisting, when one of those twists became like a strangle around Esmerelda’s neck, and the idea was there. Use the kites.

I thought about it calmly, still standing there as though nothing had passed through my mind but the continual computation guiding the kite, and I thought it seemed reasonable. As I thought about it, the notion took its own shape, blossoming, as it were, and escalating into what I finally conceived as my cousin’s nemesis. I grinned then, I recall, and brought the stunter down fast and acute across the weeds and the water, the sand and the surf, scudding it in across the wind to jerk and zoom just before it hit the girl herself where she sat on the dune top holding and spasmodically jerking the string she held in her hand, connected to the sky. She turned, smiled and shrieked then, squinting in the summer light. I laughed, too, controlling the thing in the skies above and the thing in the brain beneath, equally well.

I built a big kite. It was so big it didn’t even fit inside the shed. I made it from old aluminium tent-poles, some of which I had found in the attic a long time previously and some I had got from the town dump. The fabric, at first, was black plastic bags, but later became tent fabric, also from the attic.

I used heavy orange nylon fishing-line for the string, wound round a specially made drum for the winch, which I had strengthened and fitted with a chest-brace. The kite had a tail of twisted magazine-pages – _Guns and Ammo_, which I got regularly at the time. I painted the head of a dog on the canvas in red paint because I had yet to learn I was not a Canis. My father had told me years before that I was born under the starsign of the Dog because Sirius was overhead at the time. Anyway, that was just a symbol.

I went out very early one morning, just after the sun came up and long before anybody else woke. I went to the shed, got the kite, walked a way along the dunes and assembled it, battered a tent-peg into the ground, tied the nylon to it, then flew the kite on a short string for a while. I sweated and strained with it, even in quite a light wind, and my hands grew warm despite the heavy-duty welding-gloves I had on. I decided the kite would do, and brought it in.

That afternoon, while the same wind, now freshened, still blew across the island and off into the North Sea, Esmerelda and I went out as usual, and stopped off at the shed to pick up the dismantled kite. She helped me carry it far along the dunes, dutifully clutching the lines and winch to her flat little chest and clicking the ratchet on the drum, until we reached a point well out of sight from the house. It was a tall dune head stuck nodding towards distant Norway or Denmark, grass like hair swept over the brow and pointing.

Esmerelda searched for flowers while I constructed the kite with an appropriately solemn slowness. She talked to the flowers, I recall, as though trying to persuade them to show themselves and be collected, broken and bunched. The wind blew her blonde hair in front of her face as she walked, squatted, crawled and talked, and I assembled.

Finally the kite was finished, fully made up and lying like a collapsed tent on the grass, green on green. The wind coursed over it and flapped it – little whip noises that stirred it and made it seem alive, the dog-face scowling. I sorted the orange nylon lines out and did some tying, untangling line from line, knot from knot.

I called Esmerelda over. She had a fistful of tiny flowers, and made me wait patiently while she described them all, making up her own names when she forgot or had never learned the real ones. I accepted the daisy she gave me graciously and put it in the buttonhole of my jacket’s left breast pocket. I told her that I had finished constructing the new kite, and that she could help me test it in the wind. She was excited, wanting to hold the strings. I told her she might get a chance, though of course I would have the ultimate control. She wanted to hold the flowers as well, and I told her that might just be possible.

Esmerlda ooh’d and ah’d over the size of the kite and the fierce doggy painted on it. The kite lay on the wind-ruffled grass like an impatient manta, rippling. I found the main control lines and gave them to Esmerelda, showing her how to hold them, and where. I had made loops to go over her wrists, I told her, so that she wouldn’t lose her grip. She struck her hands through the braided nylon, holding one line tight and grasping the posy of bright flowers and the second line with her other hand. I got my part of the control lines together and carried them in a loop round to the kite. Esmerelda jumped up and down and told me to hurry up and make the kite fly. I took a last look round, then only had to kick the top edge of the kite up a little for it to take the wind and lift. I ran back behind my cousin while the slack between her and the rapidly ascending kite was taken up.

The kite blew into the sky like something wild, hoisting its tail with a noise like tearing cardboard. It shook itself and cracked in the air. It sliced its tail and flexed its hollow bones. I came up behind Esmerelda and held the lines just behind her little freckled elbows, waiting for the tug. The lines came taut, and it came. I had to dig my heels in to stay steady. I bumped into Esmerelda and made her squeal. She had let the lines go when the first brutal snap had straightened the nylon, and stood glancing back at me and staring up into the sky as I fought to control the power in the skies above us. She still clutched the flowers, and my tuggings on the lines moved her arms like a marionette, guided by the loops. The winch rested against my chest, a little slack between it and my hands. Esmerelda looked round one last time at me, giggling, and I laughed back. Then I let the lines go.

The winch hit her in the small of the back and she yelped. Then she was dragged off her feet as the lines pulled her and the loops tightened round her wrists. I staggered back, partly to make it look good on the off chance there was somebody watching and partly because letting go of the winch had put me off balance. I fell to the ground as Esmerelda left it forever. The kite just kept snapping and flapping and flapping and snapping and it hauled the girl off the earth and into the air, winch and all. I lay on my back and watched it for a second, then got up and ran after her as fast as I could, again just because I knew I couldn’t catch her. She was screaming and waggling her legs for all she was worth, but the cruel loops of nylon had her about the wrists, the kite was in the jaws of the wind, and she was already well out of reach even if I had wanted to catch her.

I ran and ran, jumping off a dune and rolling down its seaward face, watching the tiny struggling figure being hoisted farther and farther into the sky as the kite swept her away. I could just barely hear her yells and shouts, a thin wailing carried on the wind. She sailed over the sands and the rocks and out towards the sea, me running, exhilarated, underneath, watching the stuck winch bob under her kicking feet. Her dress billowed out around her.

She went higher and higher and I kept running, outpaced now by the wind and the kite. I ran through the ripple-puddles at the margins of the sea, then into it, up to my knees. Just then something, at first seemingly solid, then separating and dissociating, fell from her. At first I though she had pissed herself, then I saw flowers tumble out of the sky and hit the water ahead of me like some strange rain. I waded out over the shallows until I came to them, and gathered the ones I could, looking up from my harvest as Esmerelda and kite struck out for the North Sea. It did cross my mind that she might actually get across the damn thing and hit land before the wind dropped, but I reckoned that even if that happened I had done my best, and honour was satisfied.

I watched her get smaller and smaller, then turned and headed for shore.

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