Abstract
Iain Banks’s second novel, Walking on Glass, seems to be ideally suited for the 2007 SAES conference theme of “l’envers du decor” or “behind the scenes”, since it is preoccupied with the exploration of literature’s mechanisms and workings and with the frontiers of fictional worlds. All this is foregrounded in the novel’s incipit. The opening paragraphs are dominated by the colour white as if to reaffirm the ultimate liminality of the text, the presence of the blank page that lies permanently ...
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