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Taken out of its political time and place, The Wasp Factory suffers a little. The Grocer's Daughter is gone and today the book's readers lack a target for all this venom. Without this relevance, its effect is reduced, and somewhat blunted. Some of it seems just plain sick. And without the background, the book's cult status seems somewhat undeserved. It is a funny, rude tale about unpleasant, peculiar people, but to a noughties audience I would imagine that it sounds like a hollow vessel making an awful lot of rather pointless noise. However, what is left is still technically good and has that energy and vitality so often associated with first novels. It does have flaws and it is a bit rough round the edges, but it makes up for this lack of polish with an unmistakable enthusiasm for the task.
I guess ultimately, The Wasp Factory is a kind of extended Tales of the Unexpected with an added Shock Your Granny factor. As such, it will appeal probably more to the young. It is certainly a step up from those other yoof cult classics, ''The Dice Man'' and [[''American Psycho]] '' (why does anyone like these two books? They are both dreadful) but, in retrospect, it is not as good as its contemporary "competitor" and other first novel, [[The Cement Garden]] by Ian McEwan. Neither, despite its shock value, is it as good as many of Banks' later works. Of those, I would recommend you to start with [[Espedair Street]].
The Wasp Factory is rude. It is twisted. It is funny. It is not for the fainthearted. It probably isn't the cult classic its reputation would have you believe, but it is worth reading, if only for the embarrassed, squirming, guilty giggles.