Miracles of Life by J.G. Ballard (2008)

Finally, right at the end of his life (he died the year after it was published), Ballard wrote a genuine autobiography which actually sets the record straight.

His previous two books Empire of the Sun (1984) and The Kindness of Women (1991) had been marketed as autobiographies but, as time went by, it became clearer and clearer that they contained large slices of invention, fictional characters and imaginary events, as well as playing fast and loose with the few actual events of his life which they retold.

(For example, in Kindness his wife is described as dying after slipping and cracking her head against stone steps at a holiday villa in Spain; in fact she died of pneumonia, so the moving description of her slipping, the crack as her head hit the stone, Ballard rushing over and cradling her, seeing the growing bruise behind her ear, her loss of feeling down one side as the ambulance rushed her to hospital – all of that is entirely fictional.)

In interviews Ballard emphasised that both books were novels presented in autobiographical form and this is what a careful reading confirms.

Still, Miracles of Life is an odd book because although it adds new detail about, for example, his parents and their family origins in the West Midlands, or his decision to become a science fiction writer in the mid 1950s, or the passages describing the art and literary world of the 50s and 60s – it doesn’t really alter the essential shape of his biography, and anyone who has read The Kindness of Women will experience a strong sense of déjà vu.

Some incidents, like his description of the famous exhibition of crashed cars he organised in 1970 and how the visitors’ bad behaviour inspired him to write the novel Crash – or the passages about his visit to the set of the Spielberg filming of Empire of the Sun, right down to the words 12-year-old Christian Bale used to introduce himself (‘Hello, I’m you’) feel like they’ve been copied almost word for word from Kindness.

He knew he was dying. Maybe he ran out of time to revise and expand the familiar stories…

J.G. Ballard outline biography

  • born in 1930 and raised in the International Settlement in Shanghai
  • plays as a carefree boy among the privileged ex-pats, goes on cycle rides across the vast teeming fantasy land of Shanghai
  • 1941 Pacific War breaks out: interned along with his parents in Lunghua civilian internment centre 1943-45
  • 1945 the end of the war and strange months of disorientation back in the International Settlement
  • 1946 travels back to England with his mother and younger sister
  • 1946-49 public school in Cambridge
  • 1949 undergraduate at Cambridge studying medicine
  • 1954 packs it in to go and train to be an RAF pilot in Canada
  • 1955 returns to England and takes a string of unsatisfactory jobs, as an advertising copywriter, a porter in a London market, door to door encyclopedia salesman; marries Mary Matthews
  • sells first short story in 1956, commencing a prolific burst of story writing – over the next ten years he writes some 70 stories
  • This Is Tomorrow art exhibition at Whitechapel Gallery kick starts Pop Art and confirms his sense that he should be writing about the psychological impact of the new world of consumer capitalism, advertising, TV and so on
  • 1957 daughter Fay born
  • 1959 daughter Beatrice born
  • knocks out first pulp novel The Wind From Nowhere on a fortnight’s holiday in 1961
  • second, more serious novel, The Drowned World  published in 1963
  • summer 1963 his wife Mary dies of pneumonia on holiday in Spain, leaving him a widower to bring up three small children; he never remarries
  • after wife’s death his subject matter becomes darker (according to critics), more radical and penetrating (in his opinion)
  • 1966 starts writing the short pieces which go to make The Atrocity Exhibition
  • 1970 supervises an exhibition of (three) crashed cars at the Arts Lab
  • 1973 Crash
  • 1974 Concrete Island
  • 1975 High Rise
  • 1984 Empire of the Sun, the novel
  • 1988 Empire of The Sun, the movie, directed by Steven Spielberg

So the basic outline is not that different from what we’d read in The Kindness of Women, and has been sketched out in the biographical blurb at the front of all his books since the 1960s.

Also, it’s no great revelation but it’s worth noting how much the book is weighted towards those 15 formative years in China – it’s only on page 121 of the 278 pages of my paperback edition that Jim finally arrives back in Blighty i.e. nearly half the text covers about a fifth of his life (he died, aged 79, in 2009).


New learnings

Fantasyland Shanghai was a surreal phantasmagoria, from its exotic street life, to its markets, aromatic food, crooks and gangsters and whores, to the dead bodies which lined the streets and the public stranglings which he attended, and streets full of food vendors and shiny American cars cruising past people in rags literally starving to death, and first nights of new glamorous Hollywood movies. His childhood in Shanghai marked him for life, even before the Japs turned on the Europeans and interned them all. As he eloquently puts it:

Anything was possible, and everything could be bought and sold. In many ways, it seems like a stage set, but at the time it was real, and I think a large part of my fiction has been an attempt to evoke it by means other than memory.

‘A large part of my fiction has been an attempt to evoke it by means other than memory.’ That’s quite a thought-provoking comment. If you add together the descriptions of Shanghai in Kindness and here, it does add up to an extraordinary phantasmagoria of possibilities, and the often comic-book exaggeration of many of his scenarios and characters may well derive from a child’s cartoon version of an already garish reality.

Cynical By the age of 14 he had become quite as blasé and cynical about life as the long-suffering Chinese around him. His boyhood was just full of dead bodies, the peasants who died overnight in Shanghai, poor beggars who died in doorways, the river full of corpses floating gently to the sea because they couldn’t afford decent burials. And over and above this the public stranglings as a form of justice. And then when the Japanese took over in 1937, public beheadings.

A vast cruelty lay over the world, and was all we knew.

Chilly sex This primal, founding view of the world – as packed with brutal cruelty – helps to explain Ballard’s clinical description of bodies and the thousand and one horrific mutilations they are vulnerable to. And it underpins his view of sex, which – as any reader knows – he depicts with a compellingly clinical detachment.

America From an early age he devoured American comics (Buck Rogers, Superman) and worshipped the big American cars he saw cruising the streets of Shanghai, the American suits worn by Chinese gangsters.

In the confusion of traffic on the Bund he pointed out ‘Two-Gun’ Cohen, the then famous bodyguard of Chinese warlords, and I gazed with all a small boy’s awe at a large American car with armed men standing on the running-boards, Chicago-style

He read comic books by the score and, a little later, Time and Newsweek, and soaked American can-do optimism into every pore of his body. It is interesting to learn that his father was also a can-do optimist, a fan of H.G. Wells and ‘an enthusiast for all things American’.

This worship of Americana underpins the first 25 years of his fiction, with its obsessions with the American space programme and the Kennedy assassination and Vietnam and Hollywood movie stars, and its many stories set in America – for example the entire Vermilion Sands series about a desert resort much like Palm Springs – and finds an unsatisfactory climax in the strangely disappointing novel Hello America.

Reading this book you get a really deep sense of the vast cultural and economic difference between America and Britain after the war and can totally understand why America represented money and gadgets and big shiny cars and exciting music and The Future, a feeling which lasted through the 1960s and then somehow went astray during the 1970s.

The last clutch of novels, from Running Wild to Kingdom Come may be problematic in various ways, but at least they have escaped from the America-worship which dominates the earlier ones.

Lunghua There are two massive revelations about Ballard’s time in Lunghua internment camp:

1. He was there with his parents Both Empire of the Sun and The Kindness of Women depict young Jim as being entirely on his own, abandoned and thrown back on his own resources. In both books it is said that his parents were taken by the Japanese to a different internment camp. But they weren’t. They were with him throughout.

This is a staggering deception and/or aesthetic choice because it quite clearly makes the prison accounts of both books massively more intense. Whereas his real life wasn’t, it was far more mediated by the fact that, at the end of every day’s adventures, he returned to the ‘Ballard family room’ in the block of the abandoned teacher training college which was used as the camp.

Something confirmed by…

He says in many ways his years in the Lunghua internment camp were the happiest of his life! Well, this is a stunning surprise.

All in all, this was a relaxed and easy-going world that I had never known, except during our holidays in Tsingtao, and this favourable first impression stayed with me to the end, when conditions in the camp took a marked turn for the worse. I enjoyed my years in Lunghua, made a huge number of friends of all ages (far more than I did in adult life) and on the whole felt buoyant and optimistic.

Lunghua Camp may have been a prison of a kind, but it was a prison where I found freedom… Despite the food shortages in the last year, the bitterly cold winters (we lived in unheated concrete buildings) and the uncertainties of the future, I was happier in the camp than I was until my marriage and children.

This is a staggering sentiment to set beside the searingly intense text of Empire of the Sun.

Empire’s End Maybe it’s a truism, but I was fascinated to read here, as we did in The Kindness of Women, how decisive the sinking of British ships and the surrender at Singapore (February 1942) were in ending all respect for the British across the Far East. (dream of empire)

The fall of Singapore, and the sinking of the British battleships Repulse and Prince of Wales, devastated us all. British prestige plummeted from that moment. The surrender of Singapore, the capture of the Philippines and the threat to India and Australia sounded the death knell of Western power in the Far East and the end of a way of life. It would take the British years to recover from Dunkirk, and the German armies were already deep inside Russia. Despite my admiration for the Japanese soldiers and pilots, I was intensely patriotic, but I could see that the British Empire had failed.

Again, it’s one thing to read about this in histories, but more impactful to read about its impact from someone who was there.

Pro the atom bomb Here, as in Kindness it is mildly surprising, given the baleful shadow they cast over his early fiction, to learn that Ballard was whole-heartedly in favour of the dropping of the atom bombs on Hiroshima and Nagasaki:

Fortunately the Hiroshima and Nagasaki A-bombs brought the war to an abrupt end. Like my parents, and everyone else who lived through Lunghua, I have long supported the American dropping of the bombs. Prompted by Emperor Hirohito’s surrender broadcast, the still-intact Japanese war machine ground to a complete halt within days, so saving millions of Chinese lives, as well as our own. For a hint of what might otherwise have happened, we can look at the vicious battle for Manila, the only large city in the Pacific War fought for by the Americans, where some 100,000 Philippine civilians died.

Part of the psychosis of the post-war years was that the bombs quite clearly saved many (especially American) lives, and so can be justified by this argument; but also incinerated nearly 100,000 mostly innocent civilians, men, women and children and so, on another level, are utterly indefensible. The psychosis derives from the way both these opposite views are ‘true’.

The railway station The startling image which is described in chapter three of The Kindness of Women and which dominates the rest of that book – the experience of coming across four Japanese soldiers at a small train station in the midst of the abandoned rice paddies between Lunghua and Shanghai, and being forced to watch as one of them garrots a young Chinese peasant to death with telegraph wire – in Kindness the scene had a gruesome perfection, and is then made to haunt adult Jim for the rest of his life – in a way I thought was too good (or too bad) to be true. Yet it is described here as being true. Or at least it is repeated here (which may not be the same thing).

Back to Blighty Ballard only first visited England when he was 16. This explains why he felt and writes about it as a bizarre foreign country. His father’s memories of the Lancashire he had lived in during the Great Depression had already primed the pump.

Most of his memories of Lancashire before and after the First World War seemed fairly bleak, and he would shake his head as he described the dreadful poverty. Eating an apple as he left school, he was often followed by working-class boys badgering him for the core.

Now, arriving at Southampton, he immediately saw how small and shabby and badly designed and impoverished everything was. It was immediately clear to him that Britain had, in effect, lost the war, and this impression of post-war shabbiness, rationing and austerity never left him, compared and contrasted with the amazing consumer boom the American economy underwent during those years.

Looking at the English people around me, it was impossible to believe that they had won the war. They behaved like a defeated population. I wrote in The Kindness of Women that the English talked as if they had won the war, but acted as if they had lost it. They were clearly exhausted by the war, and expected little of the future. Everything was rationed – food, clothing, petrol – or simply unobtainable. People moved in a herd-like way, queueing for everything. Ration books and clothing coupons were all-important, endlessly counted and fussed over, even though there was almost nothing in the shops to buy. Tracking down a few light bulbs could take all day. Everything was poorly designed – my grandparents’ three-storey house was heated by one or two single-bar electric fires and an open coal fire. Most of the house was icy, and we slept under huge eiderdowns like marooned Arctic travellers in their survival gear, a frozen air numbing our faces, the plumes of our breath visible in the darkness. More importantly, hope itself was rationed, and people’s spirits were bent low.

His mother dumped 16-year-old Jim with her parents in the West Midlands when she returned to Shanghai, and had a very bad time. ‘Narrow-minded’ doesn’t begin to convey the sense of his grand-parents’ claustrophobic provincialism.

I met him at the worst time, when England was exhausted by the war. There had been heavy bombing in the Birmingham area, and I suspect that they felt my mother’s years in Lunghua were a holiday by comparison. The war had made them mean, as it made a lot of the English mean…

His grandfather loathed the Labour government, which he thought was a form of fascism.

Yet all around him was the desperate poverty of the Black Country, with some of the most ill-housed and poorly educated people in western Europe, still giving their lives after the war to maintain an empire that had never been of the least benefit to them. My grandfather’s attitude was common, and based less on feelings of social class than on a visceral resistance to change. Change was the enemy of everything he believed in.

Later, when he got a job as a door to door encyclopedia salesman in the West Midlands, he for the first time really got to meet the working class and appreciate what poverty means.

For the first time, I was meeting large numbers of working-class people, with a range of regional accents that took a trained ear to decode. Travelling around the Birmingham area, I was amazed at how bleakly they lived, how poorly paid they were, poorly educated, housed and fed. To me they were a vast exploited workforce, not much better off than the industrial workers in Shanghai. I think it was clear to me from the start that the English class system, which I was meeting for the first time, was an instrument of political control, and not a picturesque social relic. Middle-class people in the late 1940s and 1950s saw the working class as almost another species, and fenced themselves off behind a complex system of social codes.

When he phrases it like that you can see why teenage Jim developed a sense that change was vital, that only radical change could revive this dead country; and how the obvious source of hope for change was from rich, powerful and glamorous America.

Contempt for Cambridge In Kindness Jim is amusingly contemptuous of almost everything about Cambridge University, and its fake medievalism. Its only justification was as a tourist trap. In this book we get a bit more detail: he respected the science done at Cambridge, the Rutherfords et al, the work being done in physics and medicine. But he has nothing but contempt for all its traditions of scholars gowns and High Table and madrigals in the college chapel.

There’s a one line reminiscence of him attending an English lecture by F.R. Leavis who was a kind of god among critics, with his insistence that readers feel the life evinced in Jane Austen and Henry James and D.H. Lawrence – and being appalled at the man’s narrowness of understanding; and telling a fellow undergraduate that ‘It’s more important to go to T-Men (a classic noir film) than to Leavis’s lectures. He loathed it all. As in Kindness, his main interest was in investigating the US air force bases dotted all across the Fens.

No one seemed aware that the nostalgic pageant called ‘Cambridge’ was made possible by the fleets of American bombers waiting in the quiet fields around the city.

Francis Bacon He thinks Bacon is central though there is a chastening reminiscence of actually meeting the great man and being dismayed at how little he talked about the inspiration for his work, preferring to erect a buffer, a barrier and talking about perspective and paint and its formal qualities. Nonetheless, Bacon is right up Ballard’s alley:

Bacon’s paintings were screams from the abattoir, cries from the execution pits of World War II. His deranged executives and his princes of death in their pontiffs’ robes lacked all pity and remorse. His popes screamed because they knew there was no God. Bacon went even further than the surrealists, assuming our complicity in the mid-century’s horrors. It was we who sat in those claustrophobic rooms, like TV hospitality suites in need of a coat of paint, under a naked light bulb that might signal the arrival of the dead, the only witnesses at our last interview.

Yet Bacon kept hope alive at a dark time, and looking at his paintings gave me a surge of confidence. I knew there was a link of some kind with the surrealists, with the dead doctors lying in their wooden chests in the dissecting room, with film noir and with the peacock and the loaf of bread in Crivelli’s Annunciation. There were links to Hemingway and Camus and Nathanael West. A jigsaw inside my head was trying to assemble itself, but the picture when it finally emerged would appear in an unexpected place.

This passage conveys the sense which dominates the middle part of the book, that Ballard was driven into paroxysms of frustration by everything he saw wrong about stuffy and impoverished and class-ridden and nostalgic post-war England, and which he was determined to undermine and change.

Friends

  • Kingsley Amis from 1962 to 1964 – Amis was a keen science fiction buff and wrote a glowing review of Ballard’s first novel, and then was personally helpful and supportive after Ballard’s wife died; Ballard emphasises all Amis’s good qualities before he became disillusioned with England, and then life, and turned into a professional curmudgeon
  • Michael Moorcock who became editor of Britain’s leading sci fi magazine New Worlds in 1964 and worked with Ballard to shake up the staid world of SF
  • Eduardo Paolozzo the sculptor and artist who remained a close friend for 30 years

About writing

There’s more here about his writing and his career as a writer than in The Kindness of Women, which isn’t difficult because there was next to nothing about it in that book. In several places he gives several overarching speculations about the nature or motivation of his entire career. Was it all an attempt to recapture the strangeness of his boyhood in Shanghai? Was it all an attempt to stitch together all the psychotic impressions of his boyhood, along with the senseless death of his wife?

My direction as a writer changed after Mary’s death, and many readers thought that I became far darker. But I like to think I was much more radical, in a desperate attempt to prove that black was white, that two and two made five in the moral arithmetic of the 1960s. I was trying to construct an imaginative logic that made sense of Mary’s death and would prove that the assassination of President Kennedy and the countless deaths of the Second World War had been worthwhile or even meaningful in some as yet undiscovered way. Then, perhaps, the ghosts inside my head, the old beggar under his quilt of snow, the strangled Chinese at the railway station, Kennedy and my young wife, could be laid to rest.

This really helps to explain the content and approach of The Atrocity Exhibition.

Later on he gives us another wording of what is basically the same idea:

My years in the [Cambridge Medical School] dissection room were important because they taught me that though death was the end, the human imagination and the human spirit could triumph over our own dissolution. In many ways my entire fiction is the dissection of a deep pathology that I had witnessed in Shanghai and later in the post-war world, from the threat of nuclear war to the assassination of President Kennedy, from the death of my wife to the violence that underpinned the entertainment culture of the last decades of the century.

Either of these notions provide plenty to chew over, but one aspect of them stands out to me. His beloved wife Mary died of pneumonia on a holiday in Spain in August 1963. Three months later Kennedy was shot in Dallas. The closeness of the dates suggests how Ballard must have still been in deep grief over his wife when the Kennedy assassination traumatised a generation, and this helps explain why his writings evince just such a deeply traumatised reaction.

Science fiction It is fascinating to read his opinions about the science fiction of the day and why he gravitated towards it. Basically, the ‘serious’ literature of the 1950s simply seemed ludicrously remote from the realities of everyday life. Even the Angry Young Men were still stuck in a world of public schools and tweed jackets, which – coming from Americanised Shanghai – he simply found ridiculous.

And, if that wasn’t enough, Ballard was reaching for some way to investigate what he saw as the psychopathologies underlying that everyday life – the new forces of consumerism and advertising and television which he watched slowly wash over wrecked, grey England in the 1950s. Nobody was capturing the new psychological and social forces which were being unleashed.

The combination of the two motives explains why he a) wanted to write science fiction – because it seemed untrammelled, liberated, free to explore in a way the novels of old buffers like CP Snow or Anthony Powell never could b) but at the same time he wanted to drastically change what science fiction was about, from soap operas about hunky heroes in space suits brandishing ray guns on distant planets, to an exploration of the weird implications of life in the here and now. It was a two-fold rebellion.

Above all, the s-f genre had a huge vitality. Without thinking up a plan of action, I decided that this was a field I should enter. I could see that here was a literary form that placed a premium on originality, and gave a great deal of latitude to its writers, many of whom had their own trademark styles and approaches. I felt too that for all its vitality, magazine science fiction was limited by its ‘what if?’ approach, and that the genre was ripe for change, if not outright takeover. I was more interested in a ‘what now?’ approach. After weekend trips across the border [this is from the period when he was in Canada briefly training to become an RAF pilot] I could see that both Canada and the USA were changing rapidly, and that change would in time reach even Britain. I would interiorise science fiction, looking for the pathology that underlay the consumer society, the TV landscape and the nuclear arms race, a vast untouched continent of fictional possibility.

As he famously declared, he wanted to explore not outer, but inner space, and he gives a couple of handy clarifications of what this meant for him:

[E.J. Carnell, editor of New Worlds magazine] urged me not to imitate the American writers, and to concentrate on what I termed ‘inner space’, psychological tales close in spirit to the surrealists.

And:

My first decade as a writer coincided with a period of sustained change in England, as well as in the USA and Europe. The mood of post-war depression had begun to lift, and the death of Stalin eased international tensions, despite the Soviet development of the H-bomb. Cheap jet travel arrived with the Boeing 707, and the consumer society, already well established in America, began to appear in Britain. Change was in the air, affecting the nation’s psychology for good or bad. Change was what I wrote about, especially the hidden agendas for change that people were already exposing. Invisible persuaders were manipulating politics and the consumer market, affecting habits and assumptions in ways that few people fully realised. It seemed to me that psychological space, what I termed ‘inner space’, was where science fiction should be heading.

And:

In 1964 Michael Moorcock took over the editorship of the leading British science fiction magazine, New Worlds, determined to change it in every way he could. For years we had carried on noisy but friendly arguments about the right direction for science fiction to take. American and Russian astronauts were carrying out regular orbital flights in their spacecraft, and everyone assumed that NASA would land an American on the moon in 1969 and fulfil President Kennedy’s vow on coming to office. Communications satellites had transformed the media landscape of the planet, bringing the Vietnam War live into every living room. Surprisingly, though, science fiction had failed to prosper. Most of the American magazines had closed, and the sales of New Worlds were a fraction of what they had been in the 1950s. I believed that science fiction had run its course, and would soon either die or mutate into outright fantasy. I flew the flag for what I termed ‘inner space’, in effect the psychological space apparent in surrealist painting, the short stories of Kafka, noir films at their most intense, and the strange, almost mentalised world of science labs and research institutes where [his friend, psychologist] Chris Evans had thrived, and which formed the setting for part of The Atrocity Exhibition.

And this is what he did. After his dystopia trilogy of the early 1960s, almost all the rest of Ballard’s novels are set in the present day, and deal with psychosis and mental collapse or obsession i.e. with

the psychological space apparent in surrealist painting, the short stories of Kafka, noir films at their most intense, and the strange, almost mentalised world of science labs

Which is linked to the fact, or helps explain why, so many of his characters are doctors or psychiatrists, from Dr Kerans in his first novel The Drowned World through to the wicked psychiatrist Dr Wilder Penrose in Cocaine Nights.

(although many of his short stories, including some of the best of them continued to be set in the future or in outer space).

Swimming pools Anybody familiar with the first half of Ballard’s career knows that one of his recurring images is the drained swimming pool, which recurs with obsessive regularity, charged with ominous meaning. In Miracles of Life Ballard finally gives his own interpretation of what all those drained swimming pools meant, going back (as so many things in his fiction do) to his boyhood experiences in Shanghai:

In the coming years I would see a great many drained and half-drained pools, as British residents left Shanghai for Australia and Canada, or the assumed ‘safety’ of Hong Kong and Singapore, and they all seemed as mysterious as that first pool in the French Concession. I was unaware of the obvious symbolism that British power was ebbing away, because no one thought so at the time, and faith in the British Empire was at its jingoistic height. Right up to, and beyond, Pearl Harbour it was taken for granted that the dispatch of a few Royal Navy warships would send the Japanese scuttling back to Tokyo Bay. I think now that the drained pool represented the unknown, a concept that had played no part in my life. Shanghai in the 1930s was full of extravagant fantasies, but these spectacles were designed to promote a new hotel or airport, a new department store, nightclub or dog-racing track. Nothing was unknown.

As it happens, I disagree. The symbolism of the drained swimming pool and their function seem simpler to me: swimming pools are a luxury and so drained swimming pools are symbols of a society which, at one point, had it all and has now lost it all.

So, in my view, the drained pools (and their cousins, the drained fountains) are powerful symbols of the collapse of the kind of moneyed and advanced civilisation which is necessary to maintain them. And, indeed, later in the book Ballard acknowledges this – I think – more obvious interpretation.

Other, more sympathetic readers of my earlier novels and short stories were quick to spot echoes of Empire of the Sun. The trademark images that I had set out over the previous thirty years – the drained swimming pools, abandoned hotels and nightclubs, deserted runways and flooded rivers – could all be traced back to wartime Shanghai. For a long time I resisted this, but I accept now that it is almost certainly true. The memories of Shanghai that I had tried to repress had been knocking at the floorboards under my feet, and had slipped quietly into my fiction.

Quietly? Shouting and screaming more like.

Taste for the abandoned Because the drained swimming pools are merely a sub-set of Ballard’s absolute obsession with abandoned buildings, with the trappings of cities and advanced civilisations which have gone into terminal decline and been left abandoned and derelict by their creators.

His short stories are absolutely rammed with abandoned hotels, drained swimming pools and dead or dying airplanes – think of all those stories set amid the rusting gantries of the abandoned space centre at Cape Canavarel, the abandoned resort in Low Flying Aircraft or the entire abandoned city in The Ultimate City or the vision of New York a hundred years after it has been abandoned and filled with sand dunes in Hello America.

Anyway, in this book there’s a memory of exploring a casino in Shanghai which had been abandoned after the Japanese invasion of the city in 1937, and which expands to explain the importance of ‘the abandoned building’ for him. His father had told him not to go inside, but:

After a few minutes I could no longer restrain myself, and walked on tiptoe through the silent gaming rooms where roulette tables lay on their sides and the floor was covered with broken glasses and betting chips. Gilded statues propped up the canopy of the bars that ran the length of the casino, and on the floor ornate chandeliers cut down from the ceiling tilted among the debris of bottles and old newspapers. Everywhere gold glimmered in the half-light, transforming this derelict casino into a magical cavern from the Arabian Nights tales.

But it held a deeper meaning for me, the sense that reality itself was a stage set that could be dismantled at any moment, and that no matter how magnificent anything appeared, it could be swept aside into the debris of the past. I also felt that the ruined casino, like the city and the world beyond it, was more real and more meaningful than it had been when it was thronged with gamblers and dancers. Abandoned houses and office buildings held a special magic and on my way home from school I often paused outside an empty apartment block. Seeing everything displaced and rearranged in a haphazard way gave me my first taste of the surrealism of everyday life, though Shanghai was already surrealist enough.

It’s that feel for the strange magic of abandoned buildings, eerily empty cities and drained swimming pools which absolutely drenches Ballard’s best and most distinctive short stories.

Miracles of Life Lastly, what makes the book truly wonderful is the quality of love which permeates it. He has nothing but kind words for his wife who died so tragically, so long ago, and then for the strong, intelligent and funny woman, Claire Walsh, who became his lifelong partner in the mid-1960s (the one who appears in two of Ballard’s subversive advertisements, which I’ve reviewed elsewhere).

But it’s the passages about his children which overflow with love and pride and set the tone of the book, from his descriptions of helping at the actual births, through bringing them up by himself and spending all his time with them, through to the pride he felt when they married, and in his grandchildren.

Despite the atrocities described in the war years, and the terrible poverty he saw in post-war England, and then his determination to subvert and change the hidebound worlds of literature and science fiction, as he himself points out, all this was froth compared to the deep, rich core of his family life. His easy-going expressions of love for his children are enough to move any parent to tears.

Concs

Miracles of Life is a wonderfully clear, intelligent and warm book. Its leading feature for me is the intelligence of the content. What I mean is that every paragraph says something interesting. It isn’t a meandering ramble. Every paragraph makes a point, paints a scene, depicts a character, and contains thoughtful and thought-provoking insights.

As with all Ballard there’s a chilly, if not clinical feel to some of it. And yet, paradoxically, at the same time, its very honesty and candour, first about his parents, and then overwhelmingly about his children, creates a powerful sense of warmth and affection. It isn’t sentimental, he regards the whole of life and the world with a detached and lucid eye: but that makes the love which suffuses the book all the more valuable and moving.

We spent hours with little fish nets, hunting for shrimps, which were always taken home in jam jars and watched as they refused to cooperate and gave up the ghost. Fay and Bea were fascinated by the daisies that seemed to grow underwater when the stream rose to flood the meadow. Shepperton Studios were easy to enter in those wonderful summers nearly fifty years ago, and I would take the children past the sound stages to the field where unwanted props were left to the elements: figureheads of sailing ships, giant chess-pieces, half an American car, stairways that led up to the sky and amazed my three infants. And their father: days of wonder that I wish had lasted for ever. I thought of my children then, and still think of them, as miracles of life, and I dedicate this autobiography to them.


Related links

Reviews of other Ballard books

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The idea of performance in the later fiction of J.G. Ballard

This essay suggests that a focus on Ballard’s interest in television and the unreal effects which TV or film cameras have on anyone they’re pointed at, obscures the fact that TV and film are only part of a much wider sense, demonstrated throughout Ballard’s work, that we are all self consciously playing roles, most of the time.

1. The ubiquity of television in the fiction of J.G. Ballard

It’s common to observe that a lot of J.G. Ballard’s fiction is aware of, or focuses on, the role of television in modern life. From his novels we can deduce several central ideas:

TV desensitises The idea that television news with its relentless images of war atrocities desensitises its viewers, numbs them, and that therefore denizens of the TV Age need waking up by evermore outlandish, transgressive behaviour. This is a central premise of The Atrocity Exhibition and Crash, in particular, where the idea is that the jaded sexual taste of the adult protagonists need exposure to a whole new range of fetishes. But the same idea runs through Cocaine Nights and Super-Cannes where the central protagonists are taught the lesson that violence and crime energise communities, which otherwise tend to spend their evenings slumped in front of their tellies like zombies.

Making telly is addictive The addiction to making TV, or films, is portrayed in a succession of characters, starting with Richard Wilder, the TV documentary-maker in High Rise, who insists on taking his ciné-camera with him on his epic quest to climb the high rise tower. There’s the similarly obsessive scientist-turned-TV star Sangar in The Day of Creation who keeps talking about his documentary, and surrounds himself with camera and monitors and editing machines even as he slowly dies of malnutrition.

Academic turned TV star The dashing academic who transforms himself into a media star-science populariser-TV presenter is another repeated figure featuring at least three times:

  • Dr. Robert Vaughan, ‘former TV-scientist, turned nightmare angel of the expressways’, who is the lead pervert in Crash
  • Richard Sutherland, the Cambridge professor of psychology, who turns himself into a star presenter of TV documentaries in The Kindness of Women
  • Sangar in The Day of Creation

Of all the novels, television is probably most important in Rushing To Paradise (1994) where the importance of filming environmental activism and broadcasting it to a worldwide audience is central (at least in the first half of the book), where the characters sail on their environmentalist quest aboard a ship fitted with an editing suite and satellite dishes, where the death of one of the characters is broadcast live, and the lead character gives countless interviews to the world’s TV news channels about her work. Each of these recurring incidents triggering authorial comment about the power and importance of TV.

The purpose of this essay is simply to point out that it is easy to think about the concept of performance in Ballard’s fiction solely in terms of this very high-profile obsession with TV and TV news and TV footage and TV presenters, and how these characters are continually getting people to pose and perform for the camera…

But that performing for the cameras is only really a sub-set of Ballard’s much broader interest in performance as a whole – in the way modern human beings routinely conceive of themselves as acting parts, playing roles – sometimes in settings which obviously call for a degree of performance, such as the workplace, the courthouse, in the bedroom – but a lot of the rest of the time catching themselves dressing for a part, adopting a persona, playing a role, working to a script.

2. Key words

All this becomes very clear if we ignore the references to TV and television and film in his books (numerous though they are) and look instead for key words which denote theatre and theatricality, performance and roles, words such as:

  • Actor
  • Drama
  • Performance
  • Play
  • Role
  • Scene
  • Script
  • Set
  • Stage
  • Theatre

Running Wild (1988)

  • The camera fixes on him, and like a badly trained actor he steps forward to the gatehouse, a tic jumping across his sallow cheek.
  • Perhaps the planned documentary was the last straw – the children knew they’d have to play their parts for the cameras, doing all the interviews, acting out their ‘happiness’ under the eyes of their doting parents
  • Just as the older children required Marion to play her part willingly in the murder of her parents, so they need her now to believe in the rightness of their cause.
  • I had ample time to replay in my mind that terrifying scene at the Great Ormond Street Children’s Hospital.
  • ‘Let me set the stage, Sergeant.” I pulled open the shower curtain and turned on the bath taps.
  • The camera tracked to and fro, as if searching for a fallen leaf, tirelessly hunting a panorama as silent as a stage set

The Kindness of Women (1991)

  • Olga and my school friends, my mother and father on their evening visits, were like actors in the old silent films that David Hunter’s father screened for us
  • I was happy to be with them, but we were like actors playing parts presented to us at short notice.
  • More like a film actor than a Cambridge don, he was a handsome Scotsman with a shock of red hair…
  • Richard watched me with his friendly actor’s smile.
  • He had moved around the podium like an actor delivering Hamlet’s soliloquy
  • ‘When I visit Mother and Dad in Cambridge I look around the house and can’t believe I was ever a child there. It’s like a film set with these two old actors… even they can’t remember the script.’
  • Rio was filled with old actor-managers trapped within their images of themselves
  • The medium of film had turned us all into minor actors in an endlessly running daytime serial.
  • Dick had side-stepped all these, accepting that the electronic image of himself was the real one, and that his off-screen self was an ambitious but modest actor who had successfully auditioned for a far more glamorous role
  • I had never consciously manipulated them, but they had accepted their assigned roles like actors recruited to play their parts in a drama whose script they had never seen.
  • Dons with their faux-eccentric manners posed outside the chapel with the self-consciousness of minor character actors, waiting as a Spanish TV crew set up its lights.
  • Watching them, I was struck by their self-conscious pose, like dancers arrested in an audience-catching flourish at the end of their performance
  • They seemed almost to be rehearsing themselves for a performance to come, some even more elaborately staged collision.
  • His performance seemed oddly subdued, as if he were trying to shrug off the repertory of television mannerisms he had cultivated so carefully since the Cambridge days.
  • Despite playing the role of her father, I felt surprisingly dependent on her and hoped that I could give her the happy childhood that she was helping to give to my own children
  • I was impressed by his easy command of his situation – he had found a role for himself
  • Together we gazed at this scene, the ladies fanning away the flies, their husbands murmuring to each other, like a group of investors visiting the stage set of an uncompleted war film.
  • As we put away the scattered toys and clothes I had the sense that we were scene-shifters changing a set of props.
  • Even Dorothy’s resemblances to her sister, the echo of Miriam’s broad cheekbones and small hands, strong walk and determined hips, made me feel that we were extras rehearsing a scene to be played by others.
  • They look like film extras ready to play a party scene.
  • I sometimes felt that Miriam and I were playing our parts in some happily chaotic sitcom whose script we extemporised as we went along.
  • He caught my eye in the mirror, as if aware that a dimension had entered the script for which all his years in television had never prepared him
  • Beyond the bedroom door I could hear Dick laughing as he chased Fortunata around the workroom and the women in the corridor shouting to the straying child. By comparison, the bedroom was a stage set.

Rushing to Paradise (1994)

  • Overnight Saint-Esprit had become a stage-set whose cast had disappeared in mid-drama, carrying away every copy of the prompt-script.
  • Surrounded by the pregnant women, he uneasily sank his teeth into the meat and returned their approving smiles, aware that his real part in this intense drama had yet to be assigned to him.
  • An elaborate air-and-sea ballet was taking place, an over-rehearsed performance that rarely deviated from its agreed scenario
  • Neil stood on the foredeck of the Dugong, shielded from the cold spray by the white bowl of the satellite dish, at that moment transmitting the afternoon’s first performance to the watching world.
  • ‘Take lots of film of the island,’ she told him, now directing the documentary of which she was already star and scriptwriter
  • He sensed that he and Carline were reading from an old script.
  • Neil had been unsettled by the fate of the huge birds, but he already realized that he was filming a well-rehearsed scene in the theatre of protest.
  • Trying to forget the botanist, whose little body had impressed its contours into the sodden mattress beneath Neil’s shoulders, he listened to his widow’s tantrums as she supervised the re-hanging of the banner. This mini-drama she staged at least twice a day, as if keeping alive some archaic form of Japanese theatre with its repertoire of grunts and rages.
  • Meanwhile, a single volley of shots from the Champlain would sink the inflatables and put them out of action for good. Yet so far, for whatever political and diplomatic reasons, the French had been sticking to the script. They allowed the Dugong to approach the island, and waited patiently as the inflatables performed their water-borne pas de deux. In the late afternoon the corvette Sagittaire would arrive and escort the trawler to the perimeter of the thirty-mile exclusion zone, its signal lamp signing off with a choice obscenity that sent Monique enraged to her cabin. The arrangement suited everyone, and provided the maximum of national dignity and TV coverage at the minimum of risk. But now there would be a radical change to the script, and the French had not been consulted
  • His forced good cheer depressed Neil, as did his self-appointed role as second-in-command to Dr Barbara
  • Carline was sitting in the radio-cabin, head-phones over his pale hair, enjoying his new role as air-traffic controller.
  • For the first time Neil realized that he too had played a modest role in giving the expedition members their sense of purpose.
  • Aware that he had been ruthlessly milked, but accepting his real role on Saint-Esprit, Neil walked past the silent tents towards the runway
  • Sometimes he suspected that he had completed his role for Dr Barbara, and that his successor had already been appointed. Their words no longer matched the reality of Saint-Esprit. He spoke truthfully to his mother, saying that the mosquitoes and sand-flies bothered him, that he was working hard, ate well and had not been ill, and that the bullet wound on his foot had healed completely. But he sensed that he and Carline were reading from an old script.
  • Ten minutes later, as he replayed the sound-track to a critical Dr Barbara, Neil became aware that he was not the only person to film this contrived scene.
  • Lying in his bed on the sixth floor of the Nimitz Memorial Hospital, Neil watched the familiar scene on his television set.
  • The Hawaiian had hidden for a few last moments among the waist-deep ferns, and had filmed Neil being shot down by the sergeant, a scene endlessly replayed on television across the world.
  • Standing in the shadow of the prayer-shack, the captain of the Sagittaire and two his officers waited while the camera-men from the American news agencies recorded the sombre scene
  • Watching the scene from the steps of the clinic, Neil sensed that he was witnessing a shrewd but cruel experiment.
  • Sea, sun and sky could not have been arranged more skilfully had Dr Barbara herself been in charge of the mise en scene.
  • The American’s eyes were closed in a frown, nervous of the soil that covered his cheeks, and his hands were clasped around the Swedes’ video-camera. Neil could imagine him standing by the graves, unsure whether to film the macabre scene for Dr Barbara and never realizing that he was about to become part of it.

Cocaine nights (1996)

  • The scene last night was bizarre, I wish I’d filmed it. The whole waterfront came to life. People were sexually charged, like spectators after a bloody bull-fight.’

In the ex-pat colony where the book is set there are constant references to the thriving theatre scene with its endless revivals of plays by Tom Stoppard, Harold Pinter and Joe Orton.

  • They played their roles like members of an amateur theatrical group taking part in a bawdy Restoration farce
  • I frequently played bridge with Betty Shand and the Hennessys, reluctant though I was to leave the Residencia for Estrella de Mar and its baleful memories of the Hollinger fire, and had even been tempted to play a small part in a forthcoming production of Orton’s What the Butler Saw.

The narrator discovers that some of the posh wives like dressing up as hookers, and that other couples – including his brother’s lover – liked role-playing rapes and rough sex play. Slowly the narrator comes to realise that the entire place is a sort of set for numerous staged dramas.

  • The grooves in the sitting-room rugs indicated where the sofa, easy chairs and desk had stood before the police search. Pushing them back into place, I felt like a props man on a darkened stage, preparing the scene for the next day’s performance.

The narrator discovers a porn film in which the actors play very clichéd roles… up until one of them is genuinely raped.

  • The lesbian porno-film had been a set-up, designed to lure her to this anonymous apartment, the mise-en-scene for a real rape for which the bridesmaids, but not the heroine, had been prepared.
  • As I watched this parodic lesbian scene, I was sure that none of the women was a professional actress.

Being an actor.

  • His voice had sounded sincere but curiously distant, lines from a previous week’s play spoken by a distracted actor.
  • With his dark shades, he resembled a likeable young actor in his James Dean phase, chewing a knuckle as he pondered his next film role
  • As he spoke he watched himself in the mirror, touching his eyebrows and adjusting his hair like an actor in his dressing room.

Playing a part.

  • The empty rooms lay around us, their white walls enclosing nothing, ready for dramas of boredom and ennui
  • Together they seemed like figures in a dream-play, trying to remind me of memories I could never recover.
  • Then Frank, for some weird reason of his own, begins to play Joseph K.
  • He’s one of those psychiatrists with a knack of forming little ménages around themselves.’ ‘Ménages of vulnerable young women?’ ‘Exactly. He enjoys playing Svengali to them.’
  • ‘I’m trying to play the older brother, without any success.’
  • ‘Paula, stop playing the head girl.’
  • ‘He’s a shy, rather sad man.’ ‘With a taste for playing the guru to young women.’
  • ‘And who played the villain? Or the hero, I should say?’

Adopting roles

  • I had imagined myself in Frank’s role, and Paula playing his lover
  • ‘Charles, I don’t think I can play your mother.’
  • Already we were assuming our familiar roles first set out in childhood. He was the imaginative and wayward spirit, and I was the stolid older brother
  • He took no part in the proceedings, but listened intently to his translator, emphasizing for the magistrate’s benefit his central role in the events described.
  • As Bobby Crawford had said, behind the professional poise she presented to the world she seemed distracted and vulnerable, like an intelligent teenaged girl unable to decide who she really was, perhaps suspecting that the role of efficient and capable doctor was something of a pose.
  • Enjoying his new role as stately home tour guide, Cabrera led us around the house

3. Reflections

Focusing on these key words highlights the extent to which everyone in Ballardland is playing a role or thinking about playing a role or adopting a pose.

The TV thing is just a sub-set of a much larger vision in which all of Ballard’s characters play roles almost all the time. Within a family they play the parts of mother, father, elder or younger children. In relationships they play the role of solid chap or flustered girlfriend (or whichever roles they want to adopt). In their professional lives they dress up smart, put on their best smile and try to impress. In the bedroom people adopt all kinds of roles and fantasies, dressing up in costumes like the women in the porn film in Cocaine Nights or wearing teenage hooker gear like Jane in Super-Cannes.

As I watched her through the mirror I had the sense that we were still inside a film, and that everything taking place between us in the bedroom had been prefigured in a master script that Paula had read.

Before going out the house, his characters dress for the roles they are going to play. And at any moment events can happen in the street which suddenly cast them in roles – the Victim, the Bystander, the First Aider, and so on.

  • She was doing her best to play the whore, fleshing out her mouth and rolling her hips, and I wondered if this was all the whim of some avant-garde theatre director staging a street production of Mahagonny or Irma la Douce.
  • ‘It was a piece of night-theatre, a water-borne spectacular to perk up the restaurant trade. A party of Middle East tourists played the clowns, with a chorus line of French good-time girls. Brutal, but great fun.’
  • I assumed that the thief would be swimming towards the rocks below the watch-tower, to a rendezvous previously arranged with the car’s driver, who waited for him like a chauffeur outside a stage-door after the evening’s performance.
  • ‘It was a show, David. Whoever stole the speedboat was putting on a performance. Someone with a taste for fire . . .’ ‘

In encounters with the police, Ballard’s characters tend to smarten up and become hyper-aware of their stance and expressions and words, trying to calculate the effect they’re having, even more so when dealing with a lawyer or in a court of law, where everyone is on their mettle and playing pre-assigned roles.

  • [Inspector] Cabrera had unnerved me, as if he had read the secret script that Crawford had written and was aware of the role assigned to me
  • [Inspector] Cabrera was watching me in his thoughtful way, as if expecting that I, in turn, would admit my role in the crime
  • ‘Your retired stockbrokers and accountants are remarkably adept in the role of small-town criminals…’

At particular moments the sense of playing a role can become vertiginous, dizzying, prompting the characters to try to regain control of the scene. The presence of the police or security guards will do that to you. Make everyone fantastically self conscious:

I placed my hands on the desk, trying to steady the scene.

If there’s any conclusion it’s that Ballard’s sense that modern people are continually acting versions of themselves extends far beyond his interest in television and film. TV and film are just the most obvious and stylised peaks of a worldview in which all of us are acting roles – either ones we’ve chosen for ourselves or ones other people have allotted to us – almost all of the time.


Reviews of J.G. Ballard books

Novels

Short story collections

The Kindness of Women by J.G. Ballard (1991)

The Kindness of Women was marketed as the ‘sequel’ to Ballard’s bestselling autobiographical memoir, Empire of the Sun, his long and gruelling account of the harrowing years he spent in a Japanese internment camp, having been captured and separated from his parents in war-torn Shanghai, but a careful reading suggests it is anything but an ‘autobiography’ and in fact much more like an extremely carefully composed novel which simply incorporates some themes from his life.

Empire of the Sun

Empire of the Sun had a tremendous unity of subject, time and location – starting in Shanghai just at the outbreak of hostilities with Japan, devoting most of its text to the harrowing experiences and degradations of the prison camp, and ending with a section about the strangeness of the war’s abrupt end – after the two atom bombs were dropped on Japan – and the dreamlike unreality of returning to his pukka, middle-class home at their comfortable home in Shanghai’s International Settlement.

It ends with Jim and his mother leaving Shanghai on a boat with other British mothers and children, bound for an England he had never seen, and so covers his life from just the ages of 11 to 15.

One of the many striking things about Empire of the Sun for seasoned Ballard fans was that… it wasn’t science fiction. It felt like a complete break with the past, with his previous dozen or so novels and scores of short stories, in being based on actual, sensible, real world events.

And yet, in another way, it was of a piece with his previous work in that it gave away or revealed the sources of, his entire worldview.

In the first part of the book the narrator, young Jim, describes the exotic phantasmagoria which was 1940s Shanghai, with its foreign people, food, smells, behaviour and casual brutality (public stranglings) in which he is a permanent outsider, where he is the spectator at wonderful and strange scenes – just as the protagonists of so many of his stories are.

And then, of course, the main part of the text, the description of life in the internment camp, is a prolonged portrait of nominally polite well-educated chaps and chapesses going to pieces, reverting to utter torpor or feral behaviour, while young Jim is permanently starved, covered in sores, feverish and over-excited

That more or less describes the behaviour of the protagonists of the key, hard-core Ballard stories and novels, from The Drowned World to High Rise, especially in the novels which almost all describe the same narrative trajectory – the decline and fall of an individual, or a small group of people, into malnutrition and madness.

In its final scenes Empire of the Sun reaches a hallucinatory intensity as Jim accompanies the other dying internees on a long death march across the Chinese countryside towards another internment camp up country, in which scores of exhausted, ill and dying Brits fall away at each rest stop.

Eventually they arrive at the bizarre setting of an abandoned Olympic sports stadium which has been packed with loot from Shanghai by the conquering Japanese and it is here, more dead than alive, that Jim sees a strange light cover the sky which, he later learns, was the atom bomb exploding over Nagasaki which brought the war in the Pacific to an end, and saved the lives of the remaining internees.

So then, it is a very focused narrative, written with delirious intensity.

The Kindness of Women

The Kindness of Women has many of the same qualities of its predecessor, but is much more diffuse. Basically it’s much broader and wider, covering the whole of the rest of Jim’s life, starting a little before the events described in Empire of the Sun (in starts in 1937, the year the Japanese first attacked China, as opposed to Empire which starts in 1941) and then proceeds up until more or less the time of its writing, in the late 1980s.

No autobiographer can simply describe everything they’ve said and seen and done. Instead you have to choose what to describe, and The Kindness of Women takes this very much to heart. It is very episodic. Each of the seventeen chapters zeroes in on a particular period or moment, on key incidents in Ballard’s life, and gives us a good 15- or 20-page tour of it, before moving briskly on to the next key moment or period.

Thus it has far less unity of time and place, and is therefore less focused and intense than Empire of the Sun. That book was seen entirely from young Jim’s point of view, and he was weak and malnourished even before he entered the camp thanks to spending several months on the run – so it is characterised by a) being seen just from Jim’s point of view and b) Jim being almost continuously feverish and hallucinatory.

By contrast, in most of The Kindness of Women a) the narrator is not just about to faint from exhaustion and malnutrition, and b) it features other people, normal people, people who weren’t locked up during the war, who aren’t suffering from post-traumatic stress disorder, and so who ground the story, contextualise and normalise it, as we follow Jim becoming a medical student, learning to fly in Canada, getting married, having children, going on holidays to Spain, and so on.

That said, the trauma of those years, and how the narrator copes with it, remains a central theme, in fact, as the narrative unfolds, you it is increasingly drummed home that the narrator has never really been able to get away from his early trauma. In this respect, as several others, it’s a less melodramatic but more moving narrative than Empire.

It is also episodic in the sense that the chapters really feel like episodes. Each one has the depth and artistic arrangement of short story. Each chapter or section features a central theme, with several sub-themes arranged around it to counterpoint each other, like a piece of classical music.

The same goes for the recurring characters. When we first meet his boyhood friend in Shanghai, David Hunter or the teenage girl, Peggy, who looks after him in the internment camp – or a little later, at Cambridge, Dr Sutherland and his sixth form assistant Miriam – little do we suspect that these characters will recur throughout the rest of the book, popping up at key moments and coming to assume larger-than-life roles, becoming almost allegorical figures which represent certain types of human experience and behaviour.

The more you read on, the more carefully and artfully contrived you realise the book is, a selection of representative scenes, each composed and arranged very carefully, featuring representative types, so that it becomes not just the retelling of a life, but something much more elaborately wrought: something like the explanation or rationalisation or justification of Ballard’s complex and bizarre worldview.

Not only do key events explain his attitudes and beliefs, but they also justify his aesthetic strategies towards them. I realised this in the chapter about car crashes which is centred on the exhibition of crashed cars Ballard put on in 1969, when I noticed that the vocabulary and phrasing of the chapter was suddenly echoing the phrases he used with such intensity in the novel Crash.

So you not only pass through episodes in his life which are relevant to the fiction, it’s as if elements of his prose style change and alter to incorporate the phraseology of the stories and especially novels which he wrote during that period. If the Crash chapters reads like an excerpt from Crash, with all its references to raked dashboards and jutting binnacles, so the chapter in which he takes LSD reads like the novel The Unlimited Dream Company in its images of light, super-colour, and so on.

I’m suggesting that the book not only takes you through the episodes which inspired many of his stories, it also (subtly, not blatantly) takes you through the many styles he has used.

Maybe the biggest surprise about the book is that it contains next to nothing about how he wrote his books, where the ideas came from, about his struggles as an unpublished author, the first short stories, the commission for the first novel, pride at being published, the critics, his involvement in what was quickly called the New Science Fiction, his manifesto about exploring Inner Space and so on.

There is nothing about any of that, or the craft of writing, or how many hours a day he puts in, or meetings with other writers, or writer or artist friends, his ideas about what science fiction is, or fiction in general, or art – nothing.

Writing that, I suddenly realise how narrow the book is, narrow and very focused. It only really features a handful of other characters – the ones mentioned above – and insofar as they keep bumping into each other at various stages of their lives, I realise that are, in a sense, walking embodiments of how to cope with trauma and troubled childhoods.

It’s as if Ballard is arranging and positioning the same characters into different painterly compositions, or posing the same half dozen people for the same sort of group photo which they take every couple of years over a forty year period.

By the end I wondered whether anything in this book actually happened, and whether any of these handily emblematic ‘characters’ ever existed.

The more I think about it, the more obvious it seems that The Kindness of Women is much, much more like a novel in conception and execution, than any kind of autobiography. And it is a novel about the lifelong impact of childhood trauma.


Part I – A Season For Assassins

Chapter 1. Bloody Sunday

The narrator is seven years old. He describes a 7-year-old’s eye view of Shanghai, a great deranged city of the future. His nanny is 17-year-old White Russian refugee Olga. His best friend is David Hunter. They both like making model airplanes and along with other boys engage in epic games of hide and seek across the vast metropolis. Jim loves seeing the Hell-Drivers, American dare-devils who crash their Fords and Chevrolets through flaming wooden barricades. Every morning municipal trucks collect the bodies of the hundreds of Chinese who have died during the night.

The Japanese invade China and Chinese Nationalist leader Chiang Kai-shek makes Shanghai – or the country just around it – one of his battlefields. Chinese planes fly overhead bombing the Japanese military barracks and the Japanese ships in the harbour.

One of them panics and drops a bomb just by the Great World Amusement Park, which kills just over a thousand civilians, mostly Chinese refugees. Shanghai natives are proud of the fact that this is the biggest death toll from one bomb in the history of human warfare.

Jim is caught in the bomb raid, he hears someone shouting his name, it is the Australian nanny of his rich friend David, calling from their chauffeur-driven car. More bombs fall, he is pulled to safety in a doorway by a British soldier. When he re-emerges and goes over to the car he sees the nanny slumped forward in the front seat of the car, young David in the background staring traumatised into space.

Violent death in cars, trauma, staring blankly, psychotic states of mental withdrawal from traumatic events – it all starts here.

Later the Europeans organise an outing to one of the battlefields outside the city, once the fighting has moved far away. Ladies with parasols walk among the wrecked trenches, among the equipment and ammunition and corpses littered everywhere. Jim hears David tittering to himself, a peculiarly disturbed sound, and sees his ‘jarred eyes’ beneath his fringe.

Chapter 2. Escape Attempts

Jump forward to Jim’s experiences in the Lunghua internment camp described so extensively in Empire of the Sun. It would be tempting to think Ballard is rehashing old ground but having finished the whole book, I realise now that these scenes are vital to his artistic purpose – which is to show the unerasable impact of early-life trauma.

We are introduced to other internees, especially 14-year-old Peggy Gardner, taller than Jim, thin, sensible, who tries to calm Jim’s permanent state of over-excitedness. He often slips into ‘hunger reveries’. He is often feverishly over-excited. Pretty much the whole of his subsequent writing career will be devoted to obsessively repeating and re-examining these extreme mental states.

His relations with Japanese soldiers Private Kimura and Sergeant Nagata.

His obsession with planes and flying, expanding on the model airplanes he and David built, his admiration of the American Flying Tigers who fought for Chiang Kai-Shek’s Nationalists, but his equal admiration for the Japanese pilots he sees taking off through the camp fence from nearby Lunghua airport.

The reversal of values by which young Jim admires the Japanese soldiers for their discipline and efficiency and also, somehow, for their unpredictable violence. He admires the American prisoners in the camp for their laid-back, can-do spirit, their glossy American magazines, their confidence that America will win the war and they’ll soon be released.

Jim reserves his contempt for the British, mostly sunk in torpor and indifference, slow to make anything happen, but quick to scold and nag. The narrator repeats the insight from Empire of the Sun that the authority of the British Empire was irreparably damaged when the British forces at Singapore surrendered. Every colonised people in Asia immediately realised the British Empire’s days were numbered.

One night Jim is breaking into the brick-built food store, slowly scratching away at the mortar and removing one brick at a time, when the Jap guards send up a flare and reveal half a dozen Brits amid the camp wire trying to escape. Jim gets caught up in the roundup of the escapees. One of them is his boyhood friend David Hunter.  They are taken to the Jap barracks to be interrogated by camp commander Mr Hyashi, a former diplomat. Jim watches brutal Sergeant Nagata slapping and punching the escapees, sees the blood on David’s blonde hair and the bruises forming on his face.

Jim escapes severe punishment because he knows how to immediately kowtow to the Japs and say the right thing, namely that he likes it in Lunghua camp and wouldn’t dream of escaping, which is in fact true.

Chapter 3. The Japanese Soldiers

The war ends. Rumours sweep the camp of an American superbomb. The Japanese guards disappear. Jim walks out the open doors of the prison camp and describes the flat, waste lands around it, rice paddies and canals stretching for miles.

15-year-old Jim plans to walk back to Shanghai and the home of his parents. The eeriness of the empty landscape, apart from a few dead bodies, is brilliantly captured. Over it all hangs a strange uncanny light, which Jim associates with the light from the bomb. Ballard’s obsession with nuclear weapons starts here. Later he was to learn that the Japs had planned to march them inland to a death camp where they would have been liquidated. This didn’t happen because the Americans dropped the bomb.

In other words, J.G. Ballard owed his life to the dropping of the atom bombs on Hiroshima and Nagasaki, so when anxiety about the atom bomb and then the hydrogen bomb steadily grew through the 1950s and 60s he was utterly conflicted: on the one hand sharing the acute anxiety of everyone else that the world might be ended by a nuclear holocaust; at the same time owing his actual existence to the very technology which might at any second wipe out mankind.

You can see why the protagonists of so many of his stories are obsessed with the bomb and with the nuclear test sites at places like Enewatak atoll, epitomised by the extremely disturbing story The Terminal Beach. It’s because they all seek to resolve the contradiction of Ballard’s experience, but never can.

Jim stumbles up to an isolated rural station on the railway line and before he can stop realises it is occupied by four Japanese soldiers. Jim knows about Japanese soldiers. Show respect. Never run. Never show fear. Never argue or disagree.

While three of them potter about or lie with their backs against the wooden station building, one of the Japanese soldiers is slowly tying a Chinese peasant to one of the pillars holding up the roof. Slowly coiling him in telegraph wire they’ve cut down from nearby posts. Jim is forced to watch as the Chinese man is slowly bound and garrotted to death, and every second of his agony, and his imploring eyes, and his gargled noises are imprinted on Jim’s mind, in the hot noonday sun, and the complete silence of this abandoned station.

Time has stopped. This action means nothing. The Japanese know that they are dead and so nothing they do matters.

This scene, this moment and this event, the meaningless death of an unknown citizen which he is forced to watch in silence and stillness for over an hour, under a strange white sky, in an alien landscape – the memory of this scene recurs again and again later in the novel as a symbol for the nexus of inarticulable traumas Jim, and the other camp inhabitants and, by extension, millions of victims of the war, suffered.

For no particular reason, the Jap soldiers let him go and Jim stumbles along the railway lines finally reaching Shanghai and stumbling towards his boyhood home where he is reunited with his parents, who have survived the war at a different camp.

Things are restored to ‘normality’. Jim goes cruising the city with David Hunter who, he discovers, has developed a precocious taste for picking up Eurasian prostitutes and somehow making them so furious that they attack him in a mad frenzy. That’s the bit he wants. Replaying endlessly the beating he got in the camp from Sergeant Nagata.

Then Jim and his mother sail back to England. Even at the last moment, on the last page of the China section, Jim witnesses atrocity. The steamer they’re on passes an American landing craft and the homebound passengers see it is full of Japanese soldiers on their knees, wrists tied behind them, and they are being chivvied onto the beach by armed American soldiers towards a line of Chinese soldiers who have bayonets attached to their rifles and are waiting to bayonet the Japanese to death.

Part II – The Craze Years

I was marooned in a small, grey country where the sun rarely rose above the rooftops, a labyrinth of class and caste forever enlarging itself from within. The English talked as if they had won the war, but behaved as if they had lost it.

Chapter 4. The Queen of the Night

Ballard is a medical student at Cambridge and his work there is epitomised by the Dissection Room. Groups of students are allotted a cadaver and Ballard’s group is the only one to get a woman. Everything else that happens in this chapter is counterpointed by Ballard’s poetic descriptions of how this woman’s body is slowly flayed, the layers peeled back to reveal fat, muscle, tendons and then the vital organs, and he nicknames her the Queen of the Night, and is aware of a sort of psychological hold she has over him.

Ballard doesn’t like Cambridge, he certainly despises everything about his college (King’s College, the oldest and grandest college in Cambridge), disliking the daily madrigal singing in the chapel, seeing the whole place as a kind of flea-ridden tourist attraction.

‘It’s a glorified academic gift shop for American universities, where they can buy some quaint little professor for a few dollars. You need to be a tourist or an au pair girl top get the best out of it.’ (p.104)

That was in the early 1950s. Later, in 1978, he thinks:

Cambridge had expanded into a complex of industrial and science parks, ringed by monotonous housing estates and shopping precincts. At its centre, like the casbah in Tangier, was the antique heart of the university, a stopover for well-disciplined parties of Japanese tourists stepping from their TV-equipped German buses. As an undergraduate I had prayed for a new Thomas Cromwell who would launch the dissolution of the universities, but mass tourism had accomplished this, overwhelming the older European universities as it would soon destroy Rome, Florence, and Venice.

The narrator is desperate to escape the confines of college and get out to see the American bombers at the vast new airfields built across East Anglia for the fleets of bombers carrying nuclear weapons, and is hypnotised by the sight of rich American USAAF officers driving round in their huge shiny American cars, Chryslers and Oldsmobiles.

Again, this theme is reprised towards the end of the book in a way which sheds light on his lifelong obsession:

I parked in a narrow lane and stared through the perimeter fence at the worn concrete beside the nuclear weapons silos. The unsung and unremembered cement was more venerable than all the primped and polished stone of the university. The runways were aisles that led to a more meaningful world, gateways of memory and promise.

Jim sees Peggy, the scrawny teenage girl who helped him so much in the camp, came home on the same ship, and blossomed at her girls boarding school in Sussex. She pops up to Cambridge where the carries on being an older sister, chiding him about his scruffiness, his anti-Cambridge attitude, his obsession with Americans and the bomb. They discuss all this in terms of their experiences at Lunghua camp.

He meets an academic, a psychology professor Dr Richard Sutherland, who studied in America, has an American car, he has a pilot’s license and at weekends flies a gypsy moth, it’s even rumoured he’s been on television! He is ‘fast’, meaning trendy, before the word or concept had been invented.

One of his assistants is a girl still in the 6th form of her school, but knowing and sexy, Miriam who wears stylish American underwear and, he thinks, is probably sleeping with the Prof.

Nonetheless, Miriam seduces young student Jim into an affair and we have one of the first of what will be many, many coolly clinical anatomically precise descriptions of sex which includes what you might call unusual features, him placing his penis against her breast, kissing her armpit, her steering his fingers towards her anus.

Something about their combination of extreme sexuality and extreme clarity and calculation makes them very erotic, but the way that he describes with every one of the women in the book in the same clinical and geometric style made me wonder whether the sex scenes, like possibly everything else in the book, is stylised and contrived and completely untrue.

They make an odd trio: the trendy psychology professor, the haunted student and the sexy schoolgirl, driving out to the American air force bases to watch the nuclear bombers taking off and landing. Characters from an archetypal Ballard story, while the English around them seem remote and alien, p.94.

Chapter 5. The Nato Boys

Jump forward a few years and we learn that Jim has quit medical school and enrolled in the RAF. Still, as we readers know, Ballard will remain obsessed with the role and character and social position of The Doctor throughout his fiction, which is packed with doctor protagonists.

Jim enrolled because he wants to fly the big bombers which will start World War Three. But instead of learning to fly in tense divided Germany, Jim and his other volunteers are packed off to the frozen tundra of Canada, to Sakatchewan, to be precise. The whole chapter is underpinned by the sense that, in the overlit fields around the Lunghua camp, in the inexplicable silence and eeriness of the landscape, Jim realised that World War 2 had ended but World War 3 had begun, except that nobody else had noticed it. (p.106)

This perceptive but deranged conviction also underpins much of his later fiction – the name-changing central figure in The Atrocity Exhibition is trying to start World War 3, except not as we know it. As a kind of display of psychological extremes.

Also I hadn’t really understood the significance for his fiction of the fact that Ballard actually trained as a pilot. Manned flight is one of the central obsessions which recurs again and again throughout his works.

Jim describes the camaraderie in the mess, the national characteristics of the different Nato pilots training there. The Turks find it hardest because of the heavy North American food (waffles, turkey and milk).

Oh and David has accompanied him, the same David Hunter we met in Shanghai, he is going to haunt the novel like Jim’s alter ego. There is a prolonged section where David Hunter takes Jim to a brothel, they get completely hammered, so drunk we find Jim reeling on a bed before throwing up into his trousers which are lying on the floor, while two prostitutes take it in turns to suck David’s penis. David always insists on watching and being watched. Later he takes one of the whores into the bathroom and somehow makes her so angry that she attacks David, really beating and slapping him around the face. Jim simply points out it’s the nearest he can come to the times Sergeant Nagata slapped him round the face. Jim meanwhile tries to tenderly stroke and caress ‘his’ whore who, he realises, is pregnant.

One of the Turks, Captain Artvin, goes missing on a training flight in the Harvard planes they use. A few days later Jim, ignoring regulations and flying freely across the frozen tundra, see what he thinks might be the cabin of a drowned plane in a lake.

Jim tells David. He goes out on a second trip, taking so long to relocate the lake that, on the way back, he runs out of fuel and crash lands his plane on a road half buried under blizzard snow. There’s a funny moment when a mink farmer drives by, eyes the half crashed plane with Jim sitting stunned in the cockpit, then drives on.

The mink farmers hate the pilots who deliberately dive and scare their animals. No love lost on the bleak Canadian tundra. Jim is disciplined at an enquiry, and realises the air force is not for him. Miriam had written him a letter saying she’d got a job on a Fleet Street paper. He wants to return to England and explore her amazing American underwear.

Chapter 6. Magic World

Jump forward and Jim has married Miriam and they have two small children. He is now living in a modest suburban house in Shepperton. He explains some of the mystique of Shepperton, surrounded by water, the River Thames and the gravel quarries.

He takes his small children to a piece of rough ground behind Shepperton Studios where there are disused props to play with and which they call Magic World.

This chapter contains very beautiful descriptions of domestic intimacy, of them making love, but it is mixed up with her first pregnancy and giving birth in the hospital which Miriam found so alienating she insisted the second one was delivered at home, a process Ballard describes with a wonderful evocation of intimacy.

They watch Prof Richard Sutherland from Cambridge, who is now a TV academic and pundit, reporting from Cape Canavarel, one of the new generation of media academics whose role, Ballard perceptively suggests, is to teach ‘the world to feel more at ease with itself’ (p.127).

David Hunter pops by. He carried on the Canadian training, served in Kenya, then flew nuclear-armed Vulcans, drifted along the fringes of private aviation, then bought an aerial photography company (p.128). He has the air of a man scared the past is going to creep up and tap him on the shoulder. Long-term post-traumatic stress. They sit up late over whiskey. David reminds Jim of his experience at the railway station. He’s going back to Shanghai, does Jim want to come with?

Jim says ‘No’. Later in bed with Miriam they discuss it. They touch and fondle and caress and discuss. It is a beautiful evocation of married life. Then her third labour begins and there is a vivid, intimate description of labour, complete with farts and piles, and then the arrival of their third child who Ballard describes with eerie precision, like a visitor from an era millions of years old.

Chapter 7. The Island

Miriam and Jim and their three small children are on holiday in Spain, a place called Ampiabravura. Jim foolishly tries to swim round the headland but is nearly run over by a ferry and ends up clambering ashore on a long isolated sandbank.

Miriam motorboats out with the kids and they discover a remote half-abandoned building, which seems to be occupied by a group of half naked hippies.

Miriam explains he’s been back in England for eighteen years and it’s become clear he’ll never feel at home here. (So if he returned in 1945 this must be 1963. He says they’ve been married for 8 years i.e. married in 1955 when Ballard – born 1930 – was 25)

There’s an extended passage describing the new sun-worshipping beach culture which was being established along the 3,000 mile littoral of the Mediterranean (a feature, a mindset of many of his story, not least The Largest Theme Park in the World from 1989). He and Miriam have very clinical sex in hotel bedrooms and bathrooms, her adopting gymnastic poses against mirrors, watching his reflection. Maybe this happened but it feels very… male.

When they return to the secret house on the sandbank, other people are there, a tall blonde man with long hair, women swimming naked. Early hippies. The man is Peter Lykiard, teaches at Regent Street Poly, there’s another couple, and a young American student, Sally Mumford. They smoke joints, they have copies of William Burroughs, Allen Ginsberg. Groovy.

Jim and Miriam’s little kids love them. Sally is very good with the kids, calls them pixies. Her father is a millionaire, owner of a Boston department store. Miriam feels like a square.

They are all now a big gang and drive to a nearby town to watch a bullfight. Predictably this triggers primeval urges of blood and violence but it triggers Sally to an outburst of insane violence, she goes into the ring at the climax of the fight, tries to ride the bull, gets lots in a melee, they later find her in the compound for bullfighters and their followers being pushed around, her clothes torn, in a daze.

Next day, back at their special beach, the kids are playing supervised by Miriam, Lykiard and the other couple are in the house, Sally comes and lies by Jim, hands him a joint and makes it clear that she is sexually available, resting her breast against his arm. When he doesn’t respond or rise to the bait she simply stands up, not insulted or aggrieved and strolls off.

On page 157 Miriam us skipping down the steps of the villa, when she stumbles and hits her head on the stone edge. The crack is so loud everyone turns. Jim runs over to her as she looks up dazed. They help her into the inflatable dinghy they use to get to and from the sandbank, she struggles to get out at the main beach, they help her to the hotel where Jim calls a doctor. A practicante arrives and at first says they’ll keep her under observation, but only minutes later calls for an ambulance, as Miriam drifts in and out of consciousness, increasingly confused. Jim accompanies her, massaging her legs as she struggles to breathe with an oxygen mask. By the time they reach the hospital she is dead, p.160.

Chapter 8. The Kindness of Women

Miriam is buried in the Protestant cemetery at Fuigueras. All his friends find it hard to look at him. He has the feeling all the women in the world are withdrawing. He packs up their stuff and drives all the way back across Spain and France with a bottle of whiskey between his thighs.

All the past he had tried to reject – all the dead of China and the war, and especially the young Chinese he saw being strangled to death – race up to stare him in the face.

Miriam’s sister, Dorothy and her husband, are waiting to greet them at the Shepperton home. He clears out Miriam’s drawer, underwear and contraceptives. Slowly he reorientates his perspectives to ready himself for a life raising three small children by himself.

In a scene of intense eroticism a hug with Miriam’s sister Dorothy turns into sex as she makes a conscious decision to console him, and partakes of very Ballardian geometric sex in which people position themselves at angles, move penises around, dangle breasts, rearrange thighs and generally come across as pornographic meccano.

Everything I’ve ever experienced of mature English women tells me a) she’d never have done it b) she’d certainly never have had the rather theoretical architectural sex Ballard describes. Can’t help thinking this is utter fantasy.

Ballard describes the everyday misandry of pretty much everyone they know, plus the school and the authorities, all of whom think a father is not capable of bringing up small children. As a househusband who brought up my small children, I encountered exactly the same prejudices in the 2000s.

‘For God’s sake, men are capable of loving their children.’ (p.171)

Peggy drops by for another one of the conversations in which she reviews his life which are a feature of the book. She is now a very self-possessed pediatrician at Guy’s Hospital. They embrace and Jim feels a stirring but Peggy pulls away. She is the sensible older sister in their relationship.

Friends and colleagues are polite, supportive, David Hunter invites him to parties and navigates him towards eligible women, but at the same time there is a conspiracy of silence: none of his friends can bring themselves to mention his dead wife.

The narrator says he almost envies JFK’s widow, at least nobody can try and sweep her grief under the carpet and, in a flash, I realise the vast psychological importance the JFK assassination must have had for Ballard. It happened in the same year his lost his wife – it was a vast public, global outpouring of grief inextricably linked to Ballard’s own domestic private grief.

An English publisher based in New York takes Ballard out to strip clubs in Soho. This gives Ballard an opportunity to mock the explicit but utterly bored, passionless routines of the porno dancers, as formalised as the routines of air hostesses running you through the emergency drill before take-off.

A friend of Miriam’s pops round while the kids are at school and in a mature, open, unembarrassed way persuades Jim to have sex with her while she’s perched on the edge of the spindryer, the vibrations, you see.

Chapter 9. Craze People

It is now the mid-60s and these are represented for Ballard by Prof Lykiard, pipe smoking, running an arts laboratory, exhibitions of Vietnam atrocities, theatre of Cruelty, Burroughs and so on. Invites Ballard to write notes for an exhibition of images based round the JFK assassination. And Sally, who drops by to play with the pixies and is at the epicentre of the 60s maelstrom, high on amphetamines, editing documentaries about warzones, attending spiritualist events, rock concerts.

Ballard is invited to read some of his works at a massive music festival in Sussex. They take the kids, Sally looks after them but she is disconcerted to discover Lykiard having it off with one of the performance artists backstage. Ballard finds her later, beyond the festival boundaries, playing with some horses in a field. Later she insists they drive to the Sussex coast and, while the children watch, she wades out dangerously far into the water, is knocked off her feet and gets into danger of drowning, until Ballard wades out and rescues her. Blankets and the sense that she is a casualty, infinitely vulnerable, psychic damage.

Later that evening, back in Shepperton, the put the pixies to bed, she is bathed and changed and their sitting on the sofa, she snuggles up to him and makes it clear she is available for sex but when it comes to it, asking to be sodomised, turning her buttocks to him, forcing her face into the pillows, offering her hands behind her back so he can grab her wrists and push them upwards, pinning her, hurting her, as she calls out: ‘Bugger me, Daddy! Beat me! Pixie wants to be buggered!’

I found this whole sequence of events intensely erotic, and at the same time you are obviously intended to realise the depth of her psychological damage, her unloving possibly abusive father, her drug addiction, her manic throwing herself into all the hectic art events of the swinging 60s.

And you also wonder, here as in so many other places, whether any of this happened, or it is entirely fictional.

Sally becomes his guide to the heady swirl of the 1960s, and to sexual liberation. He introduces her to Dick Sutherland, the TV scientist, and this allows Ballard to describe his version of the 60s, not a time of utopian hope, but an era when endless images of violence and atrocity blared from TV screens and sex was so blasted in everyone’s faces that emotion and feeling were exterminated.

This, we realise, is the milieu which produced the intense and weird texts which go to make up what I consider to be Ballard’s masterpiece, The Atrocity Exhibition for example he describes Dick Sutherland carrying out trendy psychology experiments such as submitting subjects to intense footage of war atrocities (Vietnam, Congo) and asking questionnaires about its impact on their sex lives.

Well that is exactly the subject of one of the last chapters in The Atrocity Exhibition.

Then one night she is hosting a party at her ramshackle Bayswater digs, packed with performance artists and film-makers, Dick Sutherland and Lykiard are there. But none of them can prevent Ballard stumbling into a spare bedroom where he finds Sally on her back on the quilted top of the laundry basket, her legs hoiked up round the shoulders of a young Spanish photographer whose trousers are round his hips as he steadily, strongly fucks her. Sally stares past the Spaniard at Jim, smiling happily.

That, also, is a lesson about a decade which Ballard sees entirely in terms of its psychic damage and louring threat, atrocity, nuclear war, Vietnam, theatre of cruelty, drugs and betrayal.

Chapter 10. Kingdom of Light

17 June 1967. Under the supervision of long-time friend, TV pundit and psychologist Richard Sutherland, Ballard has an acid trip, described in terms almost identical to the prolonged fantasia which is his novel, The Unlimited Dream Company. He realises that

Shepperton was a solar garden, a sleeping paradise waiting to be woken from every stone and leaf. (p.206)

which is very much the subject of The Unlimited Dream Company.

The kids are taken out by Cleo Churchill, a childrens book editor Jim’s met at one of Sutherland’s many swinging parties who turns out to live locally and be happy to babysit sometimes, and takes them to Shepperton Park by the river. In fact, later on and well into the acid trip, Sutherland takes a phone call in Ballard’s study, taking his eye off his ward, who gets up and sleepwalks, staggers through prisms of light, as far as Shepperton Park where he sees his children, but especially Chloe Churchill, transformed into a Gustave Moreau archangel, sheathed in multi-coloured lights.

By now I doubt whether anything like this happened, but it is convenient because it means whenever Chloe pops up in the rest of the book, Ballard can have acid flashbacks of her as a rainbow angel of glory.

Sutherland had pitched filming Ballard taking the acid as a programme proposal to the head of documentaries at the BBC. This brings out Sutherland’s popularity but he’s not actually a part of the machine. And the text repeats his justification of acid, namely that the world most of us perceive, made up of discrete objects, with their correct places, governed by laws of gravity and geometry and, above all, by a sense of consecutive Time, are entirely artefacts of the central nervous system and brain which we have evolved to help us cope and manage the objects, other people and other animals around us. But they aren’t the truth. Taking acid isn’t like getting drunk or stoned. It goes far deeper than that, it reveals the world the human nervous system spends most of its time hiding us from.

Having taken acid a dozen or so times I couldn’t agree more. One trip is enough to show you the absolute wonder and amazement of what the human senses are actually perceiving every second of every day – but which are repressed, turned off, ignored so we can get on with being the instrumental, purposive, time-focused animals we are.

Delete all those repressive mechanisms and you experience the central nervous system without its locks and gates, you experience ‘reality’ unleashed. More accurately, you experience the overwhelming flood of sensations which are bodies are receiving all the time, but which the evolved CNS suppresses.

From a literary point of view it’s interesting to see that Ballard uses a lot of the phraseology and imagery which made such an impact in The Crystal World i.e. everyday objects are invested with multiple-angled shards of light, as if embedded in jewels.

My arms and legs were dressed in light, sheathes of mother-of-pearl that formed a coronation armour. (p.203)

In the aftermath, everything seems grey and drab. Shepperton has exhausted itself. A few days later Peggy Gardner drops by. She is more than ever the prim, respectable, professional spinster. Predictably she disapproves of the acid trip and especially the way Sutherland uses Jim in his psychological-TV-media experiments.

But Ballard links it back to Shanghai, Lunghua and the primal scene in chapter three, the four Japanese soldiers torturing a Chinese to death while Jim looks on in terror in an alien landscape. Now, when Ballard repeats his characteristically Ballard ideas, we have a much deeper sense of where they come from.

When he speculates that war is how nations escape from time it sort of makes sense. Certainly if you’ve read British war memoirs, it’s striking how many men were drifting or unhappy, and the call-up in August 1914 liberated many of them from the sense of inevitability and duty and failure implicit in the idea of having to get a career, get on in the world etc. For the duration of the war all those worriers were suspended.

But Ballard means something deeper and expresses it with a surreal logic which is distinctively his, the notion that the Japanese soldiers wanted were waiting for the next war, and that their torture of the Chinese was an attempt to provoke the next war into starting, so they could be free again. It’s only as irrational as thousands of other religious rites and rituals and invocations and calls on the gods or the world to do what we want.

If you fully enter Ballard’s imaginative world, if you buy into his premises, if you experience his experiences – then this kind of claim makes complete sense. Otherwise, you remain on the outside.

All that said, a few weeks later Sutherland is due to pop round with another dose of acid. Jim is at the door seeing off Cleo who has, again, obligingly agreed to take the kids to Magic World, she calmly disapproves, the kids run up to Jim shouting, ‘Come on Daddy, come with us’ and… He does. Once was enough. He turns his back on Dick Sutherland’s dubious psych experiments. As they say in Trainspotting – Choose life.

Chapter 11. The Exhibition

Sally Mumford is back. She’s progressed from speed to heroin and her arms are covered in needle marks and sores, but she still lovers the kids. For Ballard she represents all the toxic hysteria of the 1960s (or Ballard has invented her as a symbol of the same):

Like so many others at the end of the 60s, that ten-year pharmaceutical trial, she thought of the media landscape as a life-support system, force feeding a diet of violence and sensation into her numbed brain. (p.215)

In fact reading that quote at the start of this chapter makes me realise that Ballard is artfully introducing his key theme. As I’ve explained in my reviews of The Atrocity Exhibition and Crash, those books contain fairly straightforward explanations of his obsession with extreme pornography and car crashes, which is that a diet of super-violent war images and atrocities (epitomised by the endless replaying of the JFK assassination) has numbed and desensitised people, so only extremes of sex and sensation can reconnect them.

Reinforcing the mood of hysteria, we are reintroduced to David Hunter who is becoming more deranged. As the years pass he seems to blame Ballard more and more for Miriam’s death. He’s never read any of Ballard’s books, pointing out that he knows the key, the master plot, already. David gives him a lift back from London and goes and parks his car outside a posh Belgravia house out of which emerges a smart little man who David then menaces with his car. It is the Japanese ambassador. And so on.

By this stage I had realised that The Kindness of Women is a kind of handbook, or set of case studies, in post-traumatic stress survivors.

David now flies vintage cars in displays. He invites Ballard and Sally and the kids to one. Although his real passion is saloon car racing at Brands Hatch. He has twice been cautioned for dangerous driving. The reader who knows their Ballard knows where this is all heading.

David is driving Sally back from the air display when they crash, near the approach to Chertsey Road. Ballard follows on later and so is slowed down by the police who are managing the traffic flow past the wrecked cars. David and Sally are both fine, unscathed, but Ballard gets a look of them posed in driving seat and back seat, both frozen in time, staring into space, covered in broken windscreen glass, described in exactly the same phrases which fill Crash.

I was struck by their self-conscious pose, like dancers arrested in an audience-catching flourish at the end of their performance…the postures they assumed within the cabin of the Jaguar, as if they were memorising for future use the exact geometry of Sally’s exposed thighs and the ribbed leather of the upholstery, the precise angle between David’s crutch and the jut and rake of the steering wheel. (p.219)

Did this ever happen? Or is it an entirely fictional recreation of the scenes and phraseology of Crash? Ballard notices the number of people who’ve stopped to gawp at the crashed cars, some of them have got cine cameras out to film the scene. It is, he realises, a new type of street theatre, hypnotic attraction to a pile-up of technology which is somehow linked to the television and its relentless diet of violence and atrocity.

Subsequently David and Sally make complete recoveries, the latter driving Jim back up to London in her dangerous MG while explaining that the thrill of driving dangerously with the ever-present risk of a crash is identical to the motivation of the bullfight (remember the bullfighting scene back in chapter 7, aha, that’s why that was there: to prepare us for this speech), updated to the late 20th century.

Sally is lost in the maze of streets in Marylebone when a sports car surges out of a side street, nearly crashes into them, and hurtles off. Ballard had just had time to grab the wheel and steer the MG out of its path, while Sally did an emergency brake.

It was David. Sally explains that he follows her around, then she follows him. They pretend to crash into each other. This is the plot of Crash. Really rammed home when Sally takes Jim’s hand, puts is between her legs so he can feel how wet she is, and they proceed to have typically clinical Ballard sex amid the clutter of steering wheels and handbrakes, while both of them are aware of David Hunter (aha! his name! was his bland name chosen to lead up to this scene all along) roams the streets of London in his fast car, hunting for prey.

Hunter is, in fact, recreating the endless games of hide and seek which Ballard described them both playing through the vast metropolis of Shanghai, back in their innocent boyhoods. Or is he? Are both fictional inventions?

Cut to the exhibition of crashed cars which Ballard staged at Dick Sutherland’s experimental Arts Theatre Laboratory for four weeks in 1969. Ballard quotes the program notes which claim the car crash is a vector focusing all the violence and anxieties of the age (not least of thermonuclear war) into an event which happens daily, killing and maiming hundreds of thousands each year, and yet which is celebrated on TV and in movies, is presented as a form of entertainment (p.226).

At the opening night the guests behave appallingly, getting drunk, throwing up on the cars, urinating on and in them, fights break out and Sally is nearly raped in the back seat of the smashed-up Lincoln, until rescued by Ballard and Chloe Churchill, who has come along to be a voice of reason amid the madness, although Ballard, typically listens to her sensible comments but sees her reincarnated as the angle of light he saw during his acid trip.

Driving back from that party, Ballard is following Sally in her MG when he becomes entranced in their game and, accidentally-on-purpose, clips the rear fender of her car. This sends her into a zig zag but Ballard loses control of his own car which, as he brakes, veers into the fast lane, one of its tyres explodes, it crashes against the central reservation, turned onto its side and then upside down, skids at speed on its roof, Ballard hanging upside down from his safety belt, into the oncoming traffic.

The emergency services soon arrive, drag him out onto the grass verge, a figure pushes through the quickly assembling crowd and flicks a cigarette lighter lowering it to his face. It is Sally, forensically fascinated to examine his expression, as clinical as Ballard had been when he flayed and unpeeled the dead carcass back at medical school.

There’s a coda: in the last days of the 1960s Ballard attends a demolition derby held at a disused football ground in the East End, as the drivers crash into each other, one of whom is David Hunter who, after he’s crashed out of the competition lies back in his shattered cabin while Sally Mumford in white jeans and crimson jacket yells at him.

Did any of this happen? It feels very very pat, just so, and when Ballard references the Hell Drivers of Shanghai which he had described in chapter one, the reader wonders whether anyone’s actual life could be so wonderfully choreographed and thematically linked.

Chapter 12. In The Camera Lens

Jim is at a film festival in Brazil with Dick Sutherland, who he first met at Cambridge in the early 1950s and have watched morph into an early example of that new social type, the media don, the science presenter. Dick and Jim are attending a film festival in Copacabana.

This chapter neatly captures the way a lot of the behaviours which (apparently) seemed so liberating in the 1960s when they broke through the grey carapace of austerity Britain, somehow came to seem corrupt and tacky and embarrassing in the 1970s e.g. casual sex, drugs (specifically cocaine), flares, long hair, experimental films, TV and foreign jollies

The festival mainly consists of ogling the stunningly sexy Brazilian women taking part in various parades, and attending endless parties. In two brief surreal scenes he finds himself being introduced to the cast of Star Trek, already grey-haired and uncomfortably acting the roles they’ll be famous for till they die, who look like ‘venerable morticians’ (p.238) and to the legendary film director Fritz Lang.

Both encounters add to Ballard’s sense that we all live in a sort of heightened reality TV show. The centrepiece of the festival is Kubrick’s 2001: A Space Odyssey which, in fact, a glance at Wikipedia tells me was released in May 1968. (Elsewhere in this blog I’ve reviewed the Arthur C. Clarke novel and sequels)

Characteristically, Sutherland is said to be running an alternative festival of science documentaries, and some of these are right up Ballard’s alley. They include a film documenting the treatment of extreme sex offenders, which included varieties of aversion therapy i.e. showing them images of children or vulnerable women and then giving them electric shocks or emetics. Ballard didn’t watch the film, he stood and watched the audience, mainly made up of documentary filmmakers and psychologists who sit entranced, occasionally oohing with appreciation as the patients are given electric shocks or vomit, exactly – says Ballard waspishly – as the devotees in a Soho sex theatre sit entranced, occasionally murmuring their approval at a particularly graphic sex scene.

This leads up to the kind of gnomic remark you suspect Ballard is proud of: ‘In the future everyone will need to be a film critic to make sense of anything’ (p.241). I can see this emblazoned in huge letters over the entrance to the hundreds of Media Studies courses now taught all across the UK and beyond. It sounds good, but it’s not really true. It’s a very dated idea. Nowadays being a data analyst would be more help. As far as I can tell, media studies like gender studies and queer studies and all the rest are stuck in a time warp, still reading Marxist, psycho-analytical, structuralist, post-structuralist and feminist theory, while the world we inhabit has moved on.

A leading film critic on a Rio newspaper introduces our two middle-aged Englishmen to two Rio hookers, Carmen and Fortunata. This is the beginning of Dick and Jim’s ‘odyssey’ which the reader immediately spots is a kind of satirical counterpoint to what Ballard thought was Kubrick and Clarke’s overblown space fantasy.

The Rio hookers take our heroes back to their knocking shop which is two rooms adjacent to a sweatshop in which lots of other poor women manufacture mementos of the film festival, stapling together posters of Robert Redford or Jane Fonda, amid the din of the printworks. The scene also counterpoints the scene in chapter five where David and Jim spent the night with two Canadian whores in a double bedroom.

The general idea is to show the ubiquity of prostitution, and the surprising light it sheds on modern sexuality. There’s a striking moment when Jim’s hooker, Carmen, asks if he wants to film them having sex – a camera and tripod are set up in the corner, obviously it’ll cost extra. That’s not the jolt. The jolt comes when she says, maybe he’d like film of it so he can show his girlfriend. Or his wife. The fact that the equipment is set up and she knows about it, demonstrates that this is common enough to be a commercial venture i.e. it sheds light on modern marriage. Well, some modern marriages.

Dick had (wisely) refused to even enter the ‘bedroom’ of his hooker, Fortunata, it was so filthy, dishevelled, the sheets stained with mucus and lubricant and spermicidal jelly like the car bay at a garage. Instead, when Jim finally finishes fucking Carmen, and she professionally scoops his leaking semen into a succession of tissues, Jim slowly dresses and opens the door back into the workshop to find Richard and Fortunata running round it throwing tatty tourist mementos at each other. A sort of comic counterpoint to the end of the Canada prostitute story in which David provoked his hooker into smacking his face, in memory of Sergeant Nagata.

In a kind of coda, or punchline scene, the Rio film critic hosts a massive party at his mansion, where Jim, sauntering around, comes across a room which has been sealed off, which turns out to be full of lights and technicians and cameramen etc where Carmen is on hands and knees, doggy fashion, and a vexed dog handler is fondling the genitals of a German shepherd. They are trying to get the dog to get an erection and to penetrate Carmen from behind, while she flicks back her hair and looks behind her in boredom, and the host ans various other guests stand around holding their wine glasses and chatting.

Ballard describes all this as if this level of intense pornography is the future, tied to the rise and rise of desensitising TV. But I disagree. I think that vision of a world totally corrupted by TV and pornography is itself very dated, very 70s, dragging on into the 80s, and ended up being a misleading guide to what actually happened.

And now, in 2020, we live in a world where unlimited hard-core pornography is available to anyone at the click of a mouse and yet, the interesting thing about the vast parallel universe of porn on the internet is not that it exists – it’s that so many people choose not to watch it most of the time.

Chapter 13. The Casualty Station

David Hunter has been sent to a mental institute, Summerfield Hospital in south London. Here Ballard visits him, reflecting on the sequence of events that brought them there, and noting the behaviour of the other insane patients. David is pretty compos mentis as mental cases go. Ballard takes a chessboard, they play chess, and David always palms a piece before the end of the game so Ballard will have to come back.

They chat about old times. We are informed that Sally has decamped to Scotland, staying with a friend of her rich father’s trying out the then-new methadone treatment for heroin addiction. This follows her turning up at Shepperton a few months earlier, utterly string out on heroin, refusing to talk or be touched, striding up and down the kids empty bedrooms, ransacking the cupboards for their old toys. Jim takes her to his GP who recommends a specialist who recommends a nursing home on the Thames, and then onto Scotland.

David went back to Shanghai, something Jim says he can’t do, David hunted for the isolated railway station which is the recurrent image of the novel, but couldn’t find it. (The reader suspects this is because it never existed, but was a fictional symbol invented by Ballard.) David points out the car crash exhibition was simply Ballard’s way of re-enacting the atrocity he witness. ‘At a few removes’.

It was car crashing that brought him to the asylum. He and Sally developed a cult of driving up one-way streets the wrong way and one night in London had a head-on collision with a woman cellist who was killed instantly. It was only his demented gibbering at the scene and his RAF record in Kenya which saved him from a manslaughter charge. Instead he was sent to Repton mental home and now here.

In Ballard’s view, David had tried to recreate the cruelty he experienced in China, not realising that the psychopathic, TV-addicted, atrocity newsreel footage-driven 60s was egging him on. He’s just one among tens of thousands of casualties of the 1960s.

The third of Ballard’s representative trio is the TV don, Dick Sutherland and he emerged from the 60s with flying colours, making a series of pop science documentaries, notably one which used the latest fibre-optic technology to film inside the body especially, of course inside the uterus during sex etc, as well as setting up an Institute for Sexual Research, funded by a New York publisher.

It’s a funny thing, but the more Ballard talks about sex and the sex studies and practices of his characters, the more dated the book feels, reminding you that these events happened almost 50 years ago, in a very different time and place, where simply filming sex acts between humans to appear in ‘scientific’ documentaries appeared revolutionary.

When Professor Sutherland sounds off, in one of their stage-managed conversations, telling Jim that there’s going to be more and more sex in the future, so much so that it is going to create ‘new forms of social structure’ – it sounds as dated and, in its way, as childish as Space 1999 or UFO or Joe 90 or all those other TV series for kids which predicted colonies on the moon and everyone wearing zip-up plastic suits by 1999.

Didn’t turn out like that, did it.

We learn that Sally let herself be persuaded to take part in some of Dick’s experiments, let fibre-optic cables be inserted in her vagina while she had sex with a laboratory volunteer, as well as close-ups of every erogenous zone of her body. Slowly she came to think of herself as a set of dismembered parts, eventually expecting to see huge blow-ups of her nipples or clitoris on roadside billboards or upholstering the banquettes of trendy 70s nightclubs. Thus she went to pieces, almost literally.

Peggy Gardner is the last of the set of recurring characters (what David sardonically refers to as ‘the old Shanghai firm’, p.274) which, the reader realises, structure the narrative and allow Ballard to meditate on the fate of his contemporaries.

She turns up for drinks in Shepperton, and they have a couple of pages chatting about how things have turned out. Into her mouth Ballard puts quite severe criticisms of his (Ballard’s) attitude, how he manipulated everyone around him (Dick, Sally, David) to act out his nightmares, how the exhibitions, the drugs, the weird sex and the intense stories are all part of the same indictment. He patronises her a bit, telling her how she’s always looked after her so well and she slaps him in the face, drawing blood.

Rather disappointingly, this leads to sex, described with the same clinical detachment as all the other acts of coitus, and the strange angles of thighs and vulvas and penises as all the other descriptions.

Now this chapter returns to its opening scene, with Jim sitting at a table in Summerfield Hospital playing chess with David. The entire text has been very carefully crafted and arranged as a description of both what happened at the end of the 1960s and how the Shanghai firm had managed.

One of the other patients, a deranged old lady who had been taking daffodils from all the vases in the communal area and laying them carefully in a line at the entrance to a window alcove, has a fit and turns her brimming cup of tea. This is, in a way, a key scene. Jim had observed the woman unable to reconcile the light shining off the brimming meniscus of tea in her cup with the polished glare of the hard floor. Eventually she thinks her way through the problem to the solution and upends her cup, sending tea splashing all over the table and the skirt of the woman handing it out. Who promptly gets furious, grabs the feeble old woman’s wrist and gives her such a push, she sends her collapsing onto the floor.

Ballard is up out of her seat, and goes to her protection, taking her in his arms and then lifting her off the floor, she is so thing and wasted, and taking her down the corridor to the safety of her room. As he carries her, she repeats pitifully, ‘Jesus told me to.’ The point is, if you’ve read enough Ballard, you understand her. You feel, as she did, the mental pain of these conflicting geometries (shimmering liquid v. hard tabletop) and you grasp the Einsteinian brilliance of her solution. To marry hard and soft by spilling the tea, by trying to integrate these conflicting realities.

Jim says goodbye to David, promising to be back in a fortnight and making a mental note to bring daffodils for the mad old lady, and… we understand why.

Part III – After The War

Chapter 14. Into The Daylight

As the 1970s progressed, Sally had disappeared back to America to address her drug habit and other addictions. One day, to his surprise, four years after she left (eight years after the decade’s end so, presumably, 1978), Ballard gets a call and it’s Sally, not only back in the UK, but married! with a child! and living in rural contentment in Norfolk!

Ballard drives out to see Sally, stopping off at Cambridge en route to discover it is now a land of business parks and Japanese tourists. Chez Sally he discovers her little girl, Jackie, is mentally disabled, but is touched by the way Sally is madly in love with her and, when her husband returns from work, with him too.

[Jackie] stared at her father with her trusting, fixed smile, as if she were crossing the world at a slight angle to the rest of us.

The chapter has a second theme, like a piece of classical music, which is that Sally’s husband, Edward, is an amateur archaeologist and along with friends has undertaken a programme of excavating old World War Two airplanes from the mud of Norfolk estuaries where they’ve crashed.

David turns up. He’s been released from the mental home. He’s married an Asian woman and is running an airfreight company in Brussels. The presence of these two leads to nostalgic conversations, with an autumnal feeling.

Then there is the gruesome event at the heart of the chapter. Edward and his hearty beer-drinking team of enthusiasts have hired a hoist which they use to lift their latest find clear of the river mud. It is a spitfire. But as it rises the narrator realises its cockpit glass is unshattered and unopened. The pilot is still inside. Or what’s left of him. Jim and Sally are suddenly stiff with concern as David makes his way over to it and insists on helping to open the cockpit and inspect the insides, which, as they spray cleaning water into it, reveals a rotted uniform, straps and, slowly emerging, a skull and bones.

A week or so later there is an official burial service. Jim attends along with David and is impressed that his old buddy wears his official RAF uniform and stands to attention. In a weird touch, he brings along a Korean he only half knows. Jim realises the Korean is the closest he could find to a Japanese. He needed an Asiatic to bear witness ‘to the interment of all his resentments of the past forty years.’ I found this intensely moving.

Chapter 15. The Final Programme

After a career pursuing TV fame, Dick Sutherland has been diagnosed with cancer and is dying. This gives Ballard the opportunity to put into his mouth a series of witty paradoxes and insights about modern medicine, and the treatment of cancer in particular.

But, trooper to the last, Sutherland has persuaded a TV company to make a documentary filming his last months and persuaded them to take Jim, by now a famous novelist and old pal, to be his interviewer. The idea is that Jim will go to his home, or hospital bed, and interview Dick as he declines.

As you might expect it’s a bumpy ride, with Dick and Jim initially chewing over their glory days in the 1960s, the space programme, adventures in science, but with each successive interview these reassuring totems of the past disappear and the final interview is cancelled. Jim arrives but after a brief conversation Dick dismisses him, the film crew and the outside world and shuts his bedroom door. Two weeks later Jim turns up just in time to see him being wheeled on a gurney into an ambulance, his face sucked into the oxygen mask, his body coiled with plastic tubes like the young Chinese man the boy Jim watched being garrotted to death.

Chapter 16. The Impossible Palace

Paradoxically, Dick’s death exhilarates Jim. He feels liberated, released, energised to pursue his work, It as if the whole of the past has been burned along with Dick’s body at the crematorium. In a sentence which is important for critics or fans of his work, he writes:

 By demystifying his own death he had freed me from any fears of my own. For the first time since the birth of my children I felt that I was wholly done with the past and free to construct a new world from the materials of the present and future.

So was it writing Empire of the Sun which liberated Ballard from the past and left him much more interested in writing stories about the present day? Or was it the death of this old friend which liberated him from his obsessions, set him free to write about the strangeness of the present day? Or are both blinds to something else which happened?

Anyway, in this chapter Ballard walks down to the fair on Shepperton Green. The chapter is written in the style of The Unlimited Dream Company, full of images of light, and beauty, and time suspended. Cleo Churchill, the friend of his wife’s who was such a good friend to Jim and babysat his kids on countless occasions, is with him as he goes through mementos of Dick Sutherland’s life, sent him by Dick’s sister.

This mood of sensitive elegy moves seamlessly into their holding each other, then embracing, then going up to the bedroom and slowly undressing. Ballard has, by now, perfected a peculiarly detached and clinical way of describing sex, which, nonetheless, manages to be touching and affectionate. Maybe because of the complete honesty and openness it implies between the lovers.

I held Cleo’s breasts in my hands, touching the blue veins that ran past her broad nipples, and caressed away the pink grooves left by the wiring of her brassiere. I kissed a small scar in her armpit, relic of a childhood I had never known, and ran my lips through the shoal of silver stretch marks, like seeds of time spilled across her abdomen by Ceres herself as she sowed her fields. She held my penis in her hands, rolling it gently between her palms, her fingers drawing on my scrotum. Phallic corridors receded from us, an erotic labyrinth in an impossible palace. When I kissed Cleo’s nipples a battalion of lovers bent their heads. I sat on the bed as she knelt on the carpet between my knees, her forearms resting on my thighs. She took the head of my penis in her mouth, touching the tip of my urethra with her tongue, then sank deeper to hold the shaft between her teeth, biting lightly on the swollen muscle.

They become lovers or partners or whatever the correct terminology is. Thus on the day that the documentary about Dick’s death is broadcast they decide to go outside and celebrate life by hiring a boat and cruising down the Thames to Runnymede. (Many of the chapters have this structure, of two major themes or events juxtaposed.)

They cruise as far as the Kennedy Memorial (which I have visited and photographed) and which, inevitably gives rise to reflections from Ballard, absolutely obsessed with the Kennedy assassination as his fiction is.

I thought of the role that Kennedy and his assassination had played in my own life, and how his televised images had shaped the imagination of the 1960s. Stills from the Zapruder film had seemed more poignant than a Grünewald crucifixion.

Now they are accidental bystanders of a death and a resurrection. It’s a sunny day beside the Thames and a wife is reversing their car to push the trailer for a speed boat across a narrow beach into the river so that the husband can man-handle the boat, in the water, onto the just-submerged trailer. There is a little girl in the back seat and as the wife loses control of the trailer it drags the car into the river where the tide takes it. The girl is screaming and beating on the closed windows as the car sinks under the water level. Ballard bounds forward and tries to open the back door but the car skews away from him, as the husband leaves go of the boat which drifts across the river, hitting another cruiser, while two or three men steady the car and push it back up onto the shallow beach, no sign of the girl.

When they open the back door the river water rushes out and they find the girl’s body curled up on the floor, lifeless and limp. Cleo is clutching Ballard’s shirt and crying her eyes out, when a bare-kneed, red-eyed, bearded hiker approaches along the Thames-side path (one I’ve walked many times) suddenly grasps the meaning of the scene in front of him, pushes through the crowd, takes the girl, snicks an obstruction out of her throat and pulls forward her tongue, and on one movement, slicks down his beard, covers her nose and mouth in his mouth and breathes out, takes his mouth away, and pushes her diaphragm. She chokes up the water in her lungs, coughs and splutters and her hysterical mothers clutches her, as the hiker clambers to his feet, reclaims his backpack from a nearby couple and walks on along the path while people are still coping with the sudden turnaround in events.

Who was he?

Chapter 17. Dream’s Ransom

The narrator takes part in the filming of a scene from Empire of the Sun on location in a mansion in Sunningdale, fifteen minutes drive from his long-time home in Shepperton. Many of his friends and neighbours in Shepperton have always worked as extras in the films made at the massive studios there, and now, surreally, he finds many of them playing bit parts in a scene from his own boyhood. Is this why he and Miriam chose to live there all those years ago? Did he have a premonition of how are and life would link up? He even meets a bright-eyed twelve-year-old wearing his old school uniform who steps up and brightly says: ‘Hello, I’m you’. It must be the boy Christian Bale who plays him in the Steven Spielberg film version of Empire.

Then (so many of these chapters come in two parts or themes) he and Cleo (who is obviously now his partner) fly to Hollywood to attend the premiere of the film about his boyhood. He has all kinds of mixed feelings.

‘I think the actors felt that I was the odd man out, the only one who wasn’t real. Most of them had been back to Shanghai.’
‘You could have gone with them.’
‘I know, but I hadn’t the nerve. I wasn’t ready to face everything again—I’ve spent my whole life trying to sort it out. This is the right way to go back to Shanghai, inside a film…’

They check into a hotel and drive around Hollywood which, of course, confirms all his fantasies of Americana which he has been besotted by since he was a boy. He is dazzled and bewildered by the forty-foot-high billboards advertising the film version of his own boyhood back at him.

One afternoon Cleo is out shopping when there’s a ring at the room doorbell and a sophisticated lady waltzes in. It is Olga, who was his superior and impoverished nanny all those years ago, back in Shanghai. Now she is married to a rich American ear and nose surgeon (Mr Edward R. Weinstock). She is brisk and businesslike as they review her struggle to survive in wartorn China, he takes her to lunch, back at their apartment she briskly strips him and they make love.

As at other moments in the book, and quite often at moments when he has sex with the various women, you can’t help feeling contrived, just so and pat the patterns he’s making are. It is an artful ending to the book, rounding things out, finally living out the sexual fantasies about his 17-year-old nanny when he had been a pubertal 12-year-old. And he describes it with a bit of gee-whizz Ballard style:

The film of our life rushed backwards through the projector, devouring itself as it hunted for some discarded moment that held the key to our earliest selves.

In the very last scene, a week after the premiere of Empire, Jim and Cleo make their way down to the Pacific at Venice Beach. And as they watch bronzed Californians launch a replica of Thor Heyerdahl’s papyrus ship, Ra, looking at happy people enjoying the free ocean, Jim realises he is healed.

The time of desperate stratagems was over, the car crashes and hallucinogens, the deviant sex ransacked like a library of extreme metaphors. Miriam and all the murdered dead of a world war had made their peace. The happiness I had found had been waiting for me within the modest reach of my own arms, in my children and the women I had loved, and in the friends who had made their own way through the craze years.

It is an immensely satisfying, carefully arranged and moving conclusion to what is probably his best, most wide-ranging, honest and humane book.

CONCLUSION

By the end I suspected that none of these people ever existed (except for his wife and three children, that much is documentary fact) and quite possibly none of these events ever happened (except the car crash exhibition, that much is on the public record.) Apart from those handful of facts, everything else seems just too pat and contrived and perfectly poised to have anything to do with the chaotic sequence of events known as ‘life’.

Anyway, much bigger than the artfulness of its construction, what makes it a really beautiful book, in my opinion, is the breadth of its COMPASSION.

I was in the operating theatre when my wife had our second child and Ballard’s description of assisting at the birth of his daughter is one of the most moving things I’ve read, because of the way it captures complete intimacy between husband and wife.

The portrait of the excitable young woman, Sally, and the sequence of discovering her boyfriend with someone else, then trying to drown herself off the Sussex coast, and then of Ballard rescuing her, bringing her home, bathing and dressing her and then, slowly, making love to her in the stylised way she needs, is full of complexities of compassion and feeling you don’t often read in novels. It is a kind of compromised compassion, a compassion which knows there is something self-serving in its motives but cares and loves nonetheless.

And the on-again, off-again relationship with his best friend and rival and damaged alter ego, David Hunter, this rises to several moments of deep compassion and love.

And it’s worth rereading the passages where Ballard has sex with two prostitutes, one in Canada, one in Brazil, to really process the tenderness which informs his approach. He ends up stroking the small of the back of the hooker in Canada because he discovers she is pregnant and, after their weird Ballardian clinical sex is over, he carries on being interested in her and her life and soothes and strokes her in a companionate, non-sexual way.

And when he goes to the rescue of the stricken old mad lady, Doreen, in David’s asylum, that is a kind of quintessence of compassion, helping the helpless elderly.

In other words, this book contains scenes of horror and atrocity – notably the central event of the young Chinese being garrotted – and it deliberately contains scenes of lucid and detached sexuality which some might find fetishly exciting and some might find cold and repellent…

But, for me, the enduring legacy of the book is an overwhelming feeling of love and compassion, all the more amazing for way these rare plants managed to survive and flourish in a world containing so much violence and atrocity and numbing stimulations and cheap (or expensive) thrills.


Related links

Reviews of other Ballard books

Novels

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Concrete Island by J.G. Ballard (1974)

Concrete Island continues the obsession with cars and car crashes which was evident in the experimental texts which made up The Atrocity Exhibition and which then exploded into the fetish pornography of Crash.

It’s a short novel and a lot more restrained than either of its predecessors, but still explores a mind-bending situation and eventually takes us into familiar Ballard psychotic territory.

35-year-old Robert Maitland is a partner in a successful architectural practice in Marylebone. He is married and lives with his wife Catherine and eight-year-old son David somewhere near Richmond. He is, rather inevitably, having an affair with a younger woman at work, Helen Fairfax, and has spent the past few nights with her. This, apart from showing what a rake he is, is important to the plot.

(In the 1960s it seems to have become fashionable to have extra-marital affairs, amid much talk about free love and the death of marriage and women’s liberation, see, for example, the fiction of John Updike, specifically Couples. At some point during the 1970s it just became a rather tiresome tic of bourgeois fiction. And by the 1980s it had become a really hackneyed cliché, the subject of bloated, boring mainstream fiction [see Stanley and the Women or The Russian Girl by Kingsley Amis]. The decline of the ‘affair’ as a token of intellectual adventurousness into a symptom of middle-aged complacency can be tracked in the fiction of J.G. Ballard).

The plot

The novel opens dramatically with a clinical description of a car crash.

Soon after three o’clock on the afternoon of April 22nd 1973, a 35-year-old architect named Robert Maitland was driving down the high-speed exit lane of the Westway interchange in central London. Six hundred yards from the junction with the newly built spur of the M4 motorway, when the Jaguar had already passed the 70 m.p.h. speed limit, a blow-out collapsed the front nearside tyre.

The Jag careers through some wooden barriers lining the road and plunges down an embankment into a large overgrown grassy area.

When he comes round from his daze, Maitland staggers up the loose earth of the embankment, which has recently been covered with fresh soil and hasn’t grown firm with grass yet, to the verge of the motorway and the hard shoulder where he weaves in a daze shouting and waving his arms at passing cars, and nearly hit by several of them.

It is this second accident rather than the crash itself which clinches the situation, because Maitland doesn’t see a sports car hurtling along the flyover towards him until too late, the car swerves and hits one of the wooden barriers which whiplashes brutally against his legs, hurling Maitland back down the earth embankment. It is this, second accident, which seals his fate.

Because when he comes to several hours later, Maitland discovers his thigh and hip are so badly injured that he can barely walk and, when he slowly painfully drags himself back to the earth embankment, he finds it is too loose and soft and friable – and he is now to weak – for him to climb up it. He tries repeatedly but only gets half way up then slips and tumbles back down, eventually giving up the effort.

The island

Maitland’s thigh and hip have been badly damaged by the impact of the wooden barrier. The Jag is among a band of other wrecked and derelict cars in the long grass. Maitland makes a crutch and hobbles around the grassy space and makes a discovery – there is no other way off this patch of abandoned waste land: he is trapped on this ‘island’.

The island is a long thin V shape, with the unclimbable embankment along one side; a sheer concrete wall leading up to another motorway which curves round to join the one he was driving along on the second side; and a tough ten-feet-tall wire mesh fence on the third side. At least I think that’s right. To be honest I found Ballard’s descriptions of the island a bit confusing and sometimes contradictory. Here’s the longest and clearest description:

Shielding his eyes from the sunlight, Maitland saw that he had crashed into a small traffic island, some two hundred yards long and triangular in shape, that lay in the wasteground between three converging motorway routes.

The apex of the island pointed towards the west and the declining sun, whose warm light lay over the distant television studios at White City.

The base was formed by the southbound overpass that swept past seventy feet above the ground. Supported on massive concrete pillars, its six lanes of traffic were sealed from view by the corrugated metal splash-guards installed to protect the vehicles below.

Behind Maitland was the northern wall of the island, the thirty-feet-high embankment of the westbound motorway from which he had crashed.

Facing him, and forming the southern boundary, was the steep embankment of the three-lane feeder road which looped in a north-westerly circuit below the overpass and joined the motorway at the apex of the island. Although no more than a hundred yards away, this freshly grassed slope seemed hidden behind the overheated light of the island, by the wild grass, abandoned cars and builder’s equipment. Traffic moved along the westbound lanes of the feeder road, but the metal crash barriers screened the island from the drivers. The high masts of three route indicators rose from concrete caissons built into the shoulder of the road.

As I read on, I wondered if the story refers to an actual physical location, or is imaginary. Here’s a piece from the Ballardian magazine where writer Mike Bonsall suggests a plausible location for the island, in a long narrow strip of grass running south from the raised roundabout junction of the Westway and the A3220, not far from Latimer Road tube station.

The location and rough shape seem plausible, but every photo of it which Bonsall has taken seems wildly unlike the place Ballard describes. It looks bland and flat and lacks the prison-like walls which Ballard describes. It looks like you could just stroll across the road from Bonsall’s ‘island’. All of which leads to the conclude that Ballard’s ‘concrete island’ is very much an island of the mind.

I read this book some time in the 1980s and retained the impression that it really was a ‘concrete’ island. I had completely forgotten that there’s a lot more to it than that. For a start it’s big enough for him to get lost in. Over the next few days, he discovers that at one end are the ruined walls and foundations of Victorian houses. In the middle are a number of bomb shelters with steps down into them hidden by nettles and long grass. At one point there’s an overgrown graveyard, with references made to the tombstones. And believe it or not there’s the ruins of a small fleapit cinema, with a ticket booth and the shape of the crescent of seats. And somewhere in the centre the array rusting cars which he calls ‘the wreckers’ yard’.

In the description above, Ballard claims it is only 200 yards long, but Maitland’s subsequent adventures make it feel more like a village than the concrete island of the title.

All of this is overgrown by long swaying grass and castles of wild nettles, lush greenery which leads Maitland, as he develops a fever, and becomes dehydrated, to really think of it as an ‘island’.

Fever

Because that’s what happens: fever from his injuries overtakes him. There’s some wine in the boot of the jag but that just dehydrates him more. After a night and a day on the island he is in bad shape and goes steadily downhill from there. He loses weight, he is starving, he begins to hallucinate. The novel charts his descent not only into physical collapse, but this is accompanied by a wonderful description of his mind decaying, starting off lucid and determined to escape, and then charting his slow lapse into drunkenness (when he drinks a bottle of wine in shock), delirium, dehydration. After several days with no food and little to drink except rainwater, he is in serious psychological trouble.

Maitland’s descent is marked by a series of incident:

  • initial accident at 3pm
  • hit by sports car and crash barrier about 4pm
  • wakes at 1.45 having lain unconscious at the bottom of the embankment, trousers and shirt ripped
  • drinks a bottle of wine to damp the pain
  • wakes at 8am the next morning feeling terrible
  • makes a crutch from the rusted exhaust of one of the other derelict cars
  • reflects that he is marooned like Robinson Crusoe
  • dehydrated, he rips open the windscreen wiper reservoir of the Jag and greedily drinks the water
  • explores the perimeter of the island, realising he’ll never cut through or climb the high wire fence
  • back at the Jag he tries to clean his grazed hands and wounded hip an legs with cologne and rags
  • there’s a brief rainstorm and he positions the bonnet of one of the ruined cars to create a funnel channeling rainwater so he can drink it
  • strips off ruined clothes and changes into dress shirt he keeps in the boot and drinks another bottle of wine
  • fever: time passes; he dozes, comes round
  • dusk falls; a motorist chucks a cigarette from a car whizzing along the motorway and it occurs to Maitland to set the car alight
  • he does this, creating a leak in the fuel tank and using the cigarette lighter to start it – but the blaze is not like the movies, surprisingly brief and only succeeds in gutting his car
  • 10pm on the second day and a passing motorist chucks a half eaten chicken sandwich out his window which tumbles down the embankment; ravenous, Maitland chomps it down, dirt and all; he sleeps till dawn
  • dawn of the second day: Maitland vomits and is feverish; he sees an old man walking a motorbike along the hard shoulder and instead of shouting to him, becomes incoherently terrified that it is a horrific implement of torture and the old man is coming to chain him to it, so he hides
  • he stumbles across to the supporting wall of the other flyover, the one curving into the one he crashed off, and uses the charcoal off the burnt spark plugs to try and write a message big enough for passing motorists to see: HELP INJURED DRIVE CALL POLICE
  • he realises there’s a sheet of greasy newspaper nearby and excitedly reaches for it; sure enough it has a few cold soggy chips attached to it which he wolfs down
  • it starts to rain and he sets off hobbling with the use of the exhaust pipe-crutch back to the Jag but gets lost and finds amid the nettles, an entrance to some kind of mouldy basement where he holes up during the shower; when he emerges he sees the big Help message he’s written on the motorway wall has been erased

And so it goes on in the same vein, with Maitland struggling to even walk, struggling to keep a sense of purpose, experiencing lightheadedness due to hunger, dehydration and the recurrent fevers caused by the severe injuries to his hip and thigh, which sweep over him, making him vomit, pass out, come to with no memory of where he is and, increasingly, who he is.

Jane and Proctor

On the third day Maitland discovers the island already has two inhabitants, the fifty-year-old mental case, Proctor:

The man was about fifty years old, plainly a mental defective of some kind, his low forehead blunted by a lifetime of uncertainty. His puckered face had the expression of a puzzled child, as if whatever limited intelligence he had been born with had never developed beyond his adolescence. All the stresses of a hard life had combined to produce this aged defective, knocked about by a race of unkind and indifferent adults but still clinging to his innocent faith in a simple world. Ridges of silver scar tissue marked his cheeks and eye-brows, almost joining across the depressed bridge of his nose, a blob of amorphous cartilage that needed endless attention. He wiped it with his strong hand, examining the phlegm in the paraffin light. Though clumsy, his body still had a certain power and athletic poise. As he swayed from side to side on his small feet Maitland saw that he moved with the marred grace of an acrobat or punch-drunk sparring partner who had gone down the hard way.

And a young woman with red hair wearing a combat jacket, Jane Sheppard.

Lit by the paraffin lamp behind her, her red hair glowed like a wild sun in the shabby room, shafts of light cutting through the home-set waves that rose above her high forehead.She was about twenty, with an angular, sharp-witted face and strong jaw. She was good-looking in an almost wilfully tatty way.

He blunders into a fight with Proctor and Jane rescues him. Maitland recovers consciousness on her bed in the bunker she’s sort of decorated in the basement of the derelict cinema. It’s lined with posters of Charlie Manson and Black Power. She’s a drop-out from a troubled middle-class family. She is spiky but vulnerable. After a few days we realise she is a hooker and puts on shiny clothes and stilletos to go get business. She returns with groceries from a local shop. Maitland realises she knows a way out and yet… by this stage… he is in such a strange zone that he doesn’t ask her… not just yet, anyway… sometime…. not yet.

The rest of this very short novel charts the slowly changing relationships between these three, as they play off one another. By about page 100 of the 126-page-long version I have Maitland realises that he can dominate them both, and sets about managing Proctor with a combination of ‘presents from his car, and strategic cuffs and blows.

Maitland realises that Proctor actually wants to be mastered and controlled, he offers up his scar for whipping, it confirms his self-image as a humiliated loser. In what I suppose was a shocking scene for 1974 Maitland asserts his authority when Proctor is lying drunk on the grass after drinking one of Maitland’s last bottles of wine, by undoing  his flies and urinating all over the mental defective. From now on, he is boss.

Jane watches him do it, and the gesture asserts control over her, too, although only intermittent, and subject to her own unpredictable mood swings.

And reflecting on his urge to humiliate both of these outcasts, Maitland can’t help reflecting that he, too, is not the great white success he likes to think. His marriage with Catherine was on the rocks, he wasn’t happy in his work. Is Jane right when she suggests that his arrival on the island wasn’t an accident: that at some deep unconscious level, Maitland wanted to crash?

‘Oh, come on… why don’t you straighten your life out? You’ve got a hundred times more hang-ups. Your wife, this woman doctor – you were on an island long, before you crashed here.’

The novel moves quickly towards a harsh climax. A repair truck parks on the hard shoulder of the overpass with ropes and a workman’s cradle hanging down. Proctor climbs up in it to impress Maitland with his acrobatic abilities. But the truck pulls off unexpectedly and Proctor becomes entangled in the ropes and is swept backwards, helplessly, into a vast concrete stanchion where his body is smashed and he is garrotted, the ropes snapping and dropping his body to the ground as the truck carries on regardless.

Cut to Jane and Maitland by Proctor’s broken body. Sobered, Jane announces she is leaving the island. She says she’ll phone for help, she’ll get the police and an ambulance, hey can be there in half an hour. But Maitland insists she doesn’t, insists she leave him be. He wants to leave, ‘but in his own way’, when he’s ready, and not before.

Janes packs a shabby suitcase and heaves it up the embankment – she has no secret way out, she just has two functioning legs, unlike the cripple Maitland. After she’s gone he is happy. He spends hours of back-breaking labour digging a grave for Proctor in the old cemetery, drags him over to it and buries him.

Now the island is finally his without any interference. He’ll leave. Of course, he’ll leave. When he’s good and ready. In his own time…

Style

Losing rationality Only as Maitland began his mental collapse, did I realise the significance of the opening lines. I had liked them because I like factual accuracy…

Soon after three o’clock on the afternoon of April 22nd 1973, a 35-year-old architect named Robert Maitland was driving down the high-speed exit lane of the Westway interchange in central London.

But then I realised Ballard is doing something canny: the book opens with the height of factual, police evidence-level pedantic precision. Clarity and lucidity and accuracy. Because these are the very things which the protagonist proceeds to slowly loses as he descends into into fever dreams and increasingly weird psychic states.

The grass There’s an appealing thread running through the book, which is the importance of the grass. As Maitland goes out of his mind he begins to think the long grass on the island is talking to him, encouraging him, urging him on, and he starts talking back to the grass, sharing his plans with it.

The grass lashed at his feet, as if angry that Maitland still wished to leave its green embrace. Laughing at the grass, Maitland patted it reassuringly with his free hand as he hobbled along, stroking the seething stems that caressed his waist.

I’m not being too cute when I say that the grass was my favourite character in the book, preferable to the Caliban-clumsiness of Proctor, and to the unhappy mood changes of neurotic Jane who – alas and alack – inevitably eventually gets her kit off and has sex with Maitland on her smelly mattress in the basement of the ruined cinema. That eventuality had a thumping inevitability, whereas the character of the grass, that’s not something you read every day.

The grass seethed and whirled around him, as if sections of this wilderness were speaking to each other… The grass flashed with an electric light, encircling his thighs and calves. The wet leaves wound across his skin, as if reluctant to release him…

No point in going back to the car, he told himself.
The grass seethed around him in the light wind, speaking its agreement.
‘Explore the island now – drink the wine later.’
The grass rustled excitedly, parting in circular waves, beckoning him into its spirals.

Yes, you can make a strong case for the grass being the most sympathetic character in the book.

Melodrama

Having just read the short story collection Vermilion Sands my head was reverberating from Ballard’s extravagant over-use of Edgar Allen Poe-level over-the-top Gothic terminology – everything in Vermilion Sands is a nightmare, a living hell, demented and insane.

Regrettably, a little of that hysterical tones seeps into what is, for the most part, the much sober style of the story.

  • He lurched into the roadway again, blocking the outer lane and waving his briefcase like a demented race-track official
  • When she came into the room she turned up the lamp and glared down drunkenly at Maitland. Her wild hair flamed around her in the vivid light like a demented sun
  • By some nightmare logic he was convinced that the old man was coming for him,
  • He began to tell the young woman about his crash, eager to fix his nightmare ordeal in someone else’s mind before it vanished

There’s a particularly over-ripe moment when it occurs to Maitland that his plight, marooned in this no-mans’-land has an improbably vast symbolism.

Catherine would be sleeping quietly in her white bedroom, a bar of moonlight across her pale throat. In fact, the whole city was now asleep, part of an immense unconscious Europe, while he himself crawled about on a forgotten traffic island like the nightmare of this slumbering continent.

Pretty over-ripe – although, to be fair, Maitland is feverishly hallucinating at the time

Ballard is capable of thinking things nobody else had ever thought, and often framing it in wonderfully bizarre and inventive purple prose. But at his most flaccid, he is also capable of a kind of second-hand bombast which suddenly makes you sit up and ask yourself: ‘Actually, is this brilliant or… is it over-the-top rubbish?’

Conclusion

It’s a brilliant, vivid and haunting novella.

It feels a long, long way from the trilogy of florid disaster novels in the early 1960s or from the jewelled prose of Vermilion Sands and the more lush and decadent of his many short stories, a long way from the dead astronauts and drained swimming pools of the desert resorts.

It’s West London in 1973 – and yet it is a vivid, a disturbingly super-vivid, picture of how quickly the most successful, articulate, intelligent and rational people in our culture can be reduced by a relatively minor twist of fate to abject squalor and mental collapse.

It feels astringent and modern and is at its most effective when, in prose terms, it is most restrained.

After the next book, High Rise, was published in 1975, it became possible to see the three novels – Crash (1973), Concrete Island (1974), High Rise (1975) – closely linked as they are by publication date and subject matter – as a trilogy, and they’ve come to be referred to as the ‘urban disaster’ trilogy.

Original covers of Concrete Island (1974) and High-Rise (1975)

High-minded critics may well laud Ballard’s avant-garde experimentalism and analyse his post-modern fictional strategies and his prophetic insights into the post-modern condition – but it’s funny to realise that, at the time, his publishers still marketed his books with images of bare boobs and tough guys.


Related links

Reviews of other Ballard books

Novels

Short story collections

Other science fiction reviews

Late Victorian
1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1900s
1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1910s
1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1920s
1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, where they discover…

1930s
1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years – surely the most sweeping vista of any science fiction book
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Oxford academic Ransom and take him in their spherical spaceship to Malacandra, as the natives call the planet Mars

1940s
1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950s
1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the  Foundation Trilogy, which describes the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence, powered by ‘spindizzy’ technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them until one fireman, Guy Montag, rebels
1953 The Demolished Man by Alfred Bester – a breathless novel set in a 24th century New York populated by telepaths and describing the mental collapse of corporate mogul Ben Reich who starts by murdering his rival Craye D’Courtney and becomes progressively more psychotic as he is pursued by telepathic detective, Lincoln Powell
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
Some problems with Isaac Asimov’s science fiction
1956 They Shall Have Stars by James Blish – explains the invention, in the near future, of i) the anti-death drugs and ii) the spindizzy technology which allow the human race to colonise the galaxy
1956 The Stars My Destination by Alfred Bester – a fast-paced phantasmagoria set in the 25th century where humans can teleport, a terrifying new weapon has been invented, and tattooed hard-man, Gulliver Foyle, is looking for revenge
1959 The Triumph of Time by James Blish – concluding novel of Blish’s ‘Okie’ tetralogy in which mayor of New York John Amalfi and his friends are present at the end of the universe
1959 The Sirens of Titan by Kurt Vonnegut – Winston Niles Rumfoord builds a space ship to explore the solar system where encounters a chrono-synclastic infundibula, and this is just the start of a bizarre meandering fantasy which includes the Army of Mars attacking earth and the adventures of Boaz and Unk in the caverns of Mercury

1960s
1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 The Drowned World by J.G. Ballard – Dr Kerans is part of a UN mission to map the lost cities of Europe which have been inundated after solar flares melted the worlds ice caps and glaciers, but finds himself and his colleagues’ minds slowly infiltrated by prehistoric memories of the last time the world was like this, complete with tropical forest and giant lizards, and slowly losing their grasp on reality.
1962 The Voices of Time and Other Stories – Eight of Ballard’s most exquisite stories including the title tale about humanity slowly falling asleep even as they discover how to listen to the voices of time radiating from the mountains and distant stars, or The Cage of Sand where a handful of outcasts hide out in the vast dunes of Martian sand brought to earth as ballast which turned out to contain fatal viruses. Really weird and visionary.
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard space-travelling New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1962 Mother Night by Kurt Vonnegut – the memoirs of American Howard W. Campbell Jr. who was raised in Germany and has adventures with Nazis and spies
1963 Cat’s Cradle by Kurt Vonnegut – what starts out as an amiable picaresque as the narrator, John, tracks down the so-called ‘father of the atom bomb’, Felix Hoenniker for an interview turns into a really bleak, haunting nightmare where an alternative form of water, ice-nine, freezes all water in the world, including the water inside people, killing almost everyone and freezing all water forever
1964 The Drought by J.G. Ballard – It stops raining. Everywhere. Fresh water runs out. Society breaks down and people move en masse to the seaside, where fighting breaks out to get near the water and set up stills. In part two, ten years later, the last remnants of humanity scrape a living on the vast salt flats which rim the continents, until the male protagonist decides to venture back inland to see if any life survives
1964 The Terminal Beach by J.G. Ballard – Ballard’s breakthrough collection of 12 short stories which, among more traditional fare, includes mind-blowing descriptions of obsession, hallucination and mental decay set in the present day but exploring what he famously defined as ‘inner space’
1964 Dr. Strangelove, or, How I Learned to Stop Worrying and Love the Bomb by Peter George – a novelisation of the famous Kubrick film, notable for the prologue written as if by aliens who arrive in the distant future to find an earth utterly destroyed by the events described in the main narrative
1966 Rocannon’s World by Ursula Le Guin – Le Guin’s first novel, a ‘planetary romance’ or ‘science fantasy’ set on Fomalhaut II where ethnographer and ‘starlord’ Gaverel Rocannon rides winged tigers and meets all manner of bizarre foes in his quest to track down the aliens who destroyed his spaceship and killed his colleagues, aided by sword-wielding Lord Mogien and a telepathic Fian
1966 Planet of Exile by Ursula Le Guin – both the ‘farborn’ colonists of planet Werel, and the surrounding tribespeople, the Tevarans, must unite to fight off the marauding Gaal who are migrating south as the planet enters its deep long winter – not a good moment for the farborn leader, Jakob Agat Alterra, to fall in love with Rolery, the beautiful, golden-eyed daughter of the Tevaran chief
1966 – The Crystal World by J.G. Ballard – Dr Sanders journeys up an African river to discover that the jungle is slowly turning into crystals, as does anyone who loiters too long, and becomes enmeshed in the personal psychodramas of a cast of lunatics and obsessives
1967 The Disaster Area by J.G. Ballard – Nine short stories including memorable ones about giant birds, an the man who sees the prehistoric ocean washing over his quite suburb.
1967 City of Illusions by Ursula Le Guin – an unnamed humanoid with yellow cat’s eyes stumbles out of the great Eastern Forest which covers America thousands of years in the future when the human race has been reduced to a pitiful handful of suspicious rednecks or savages living in remote settlements. He is discovered and nursed back to health by a relatively benign commune but then decides he must make his way West in an epic trek across the continent to the fabled city of Es Toch where he will discover his true identity and mankind’s true history
1966 The Anti-Death League by Kingsley Amis
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into a galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped ‘andys’ – earning enough to buy mechanical animals, since all real animals died long ago
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after they are involved in an explosion on the moon
1969 The Left Hand of Darkness by Ursula Le Guin – an envoy from the Ekumen or federation of advanced planets – Genly Ai – is sent to the planet Gethen to persuade its inhabitants to join the federation, but the focus of the book is a mind-expanding exploration of the hermaphroditism of Gethen’s inhabitants, as Genly is forced to undertake a gruelling trek across the planet’s frozen north with the disgraced native lord, Estraven, during which they develop a cross-species respect and, eventually, a kind of love
1969 Slaughterhouse-Five by Kurt Vonnegut – Vonnegut’s breakthrough novel in which he manages to combine his personal memories of being an American POW of the Germans and witnessing the bombing of Dresden in the character of Billy Pilgrim, with a science fiction farrago about Tralfamadorians who kidnap Billy and transport him through time and space – and introduces the catchphrase ‘so it goes’

1970s
1970 Tau Zero by Poul Anderson – spaceship Leonora Christine leaves earth with a crew of fifty to discover if humans can colonise any of the planets orbiting the star Beta Virginis, but when its deceleration engines are damaged, the crew realise they need to exit the galaxy altogether in order to find space with low enough radiation to fix the engines – and then a series of unfortunate events mean they find themselves forced to accelerate faster and faster, effectively travelling forwards through time as well as space until they witness the end of the entire universe – one of the most thrilling sci-fi books I’ve ever read
1970 The Atrocity Exhibition by J.G. Ballard – Ballard’s best book, a collection of fifteen short experimental texts in stripped-down prose bringing together key obsessions like car crashes, mental breakdown, World War III, media images of atrocities and clinical sex
1971 Vermilion Sands by J.G. Ballard – nine short stories including Ballard’s first, from 1956, most of which follow the same shape, describing the arrival of a mysterious, beguiling woman in the fictional desert resort of Vermilion Sands, the setting for extravagantly surreal tales of the glossy, lurid and bizarre
1971 The Lathe of Heaven by Ursula Le Guin – thirty years in the future (in 2002) America is an overpopulated environmental catastrophe zone where meek and unassuming George Orr discovers that is dreams can alter reality, changing history at will. He comes under the control of visionary neuro-scientist, Dr Haber, who sets about using George’s powers to alter the world for the better with unanticipated and disastrous consequences
1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic, leading to harum scarum escapades in disaster-stricken London
1972 The Word for World Is Forest by Ursula Le Guin – novella set on the planet Athshe describing its brutal colonisation by exploitative Terrans (who call it ‘New Tahiti’) and the resistance of the metre-tall, furry, native population of Athsheans, with their culture of dreamtime and singing
1972 The Fifth Head of Cerberus by Gene Wolfe – a mind-boggling trio of novellas set on a pair of planets 20 light years away, the stories revolve around the puzzle of whether the supposedly human colonists are, in fact, the descendants of the planets’ shape-shifting aboriginal inhabitants who murdered the first earth colonists and took their places so effectively that they have forgotten the fact and think themselves genuinely human
1973 Crash by J.G. Ballard – Ballard’s most ‘controversial’ novel, a searingly intense description of its characters’ obsession with the sexuality of car crashes, wounds and disfigurement
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre-long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it in one of the most haunting and evocative novels of this type ever written
1973 Breakfast of Champions by Kurt Vonnegut – Vonnegut’s longest and most experimental novel with the barest of plots and characters allowing him to sound off about sex, race, America, environmentalism, with the appearance of his alter ego Kilgore Trout and even Vonnegut himself as a character, all enlivened by Vonnegut’s own naive illustrations and the throwaway catchphrase ‘And so on…’
1974 Concrete Island by J.G. Ballard – the short and powerful novella in which an advertising executive crashes his car onto a stretch of wasteland in the juncture of three motorways, finds he can’t get off it, and slowly adapts to life alongside its current, psychologically damaged inhabitants
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?
1974 The Dispossessed by Ursula Le Guin – in the future and 11 light years from earth, the physicist Shevek travels from the barren, communal, anarchist world of Anarres to its consumer capitalist cousin, Urras, with a message of brotherhood and a revolutionary new discovery which will change everything
1974 Inverted World by Christopher Priest – vivid description of a city on a distant planet which must move forwards on railway tracks constructed by the secretive ‘guilds’ in order not to fall behind the mysterious ‘optimum’ and avoid the fate of being obliterated by the planet’s bizarre lateral distorting, a vivid and disturbing narrative right up until the shock revelation of the last few pages
1975 High Rise by J.G. Ballard – an astonishingly intense and brutal vision of how the middle-class occupants of London’s newest and largest luxury, high-rise development spiral down from petty tiffs and jealousies into increasing alcohol-fuelled mayhem, disintegrating into full-blown civil war before regressing to starvation and cannibalism
1976 Slapstick by Kurt Vonnegut – a madly disorientating story about twin freaks, a future dystopia, shrinking Chinese and communication with the afterlife
1979 The Unlimited Dream Company by J.G. Ballard – a strange combination of banality and visionary weirdness as an unhinged young man crashes his stolen plane in suburban Shepperton, and starts performing magical acts like converting the inhabitants into birds, conjuring up exotic foliage, convinced his is on a mission to liberate them
1979 Jailbird by Kurt Vonnegut – the satirical story of Walter F. Starbuck and the RAMJAC Corps run by Mary Kathleen O’Looney, a baglady from Grand Central Station, among other satirical notions including the new that Kilgore Trout, a character who recurs in most of his novels, is one of the pseudonyms of a fellow prison at the gaol where Starbuck serves a two year sentence, one Dr Robert Fender

1980s
1980 Russian Hide and Seek by Kingsley Amis – set in an England of 2035 after a) the oil has run out and b) a left-wing government left NATO and England was promptly invaded by the Russians – ‘the Pacification’, who have settled down to become a ruling class and treat the native English like 19th century serfs
1980 The Venus Hunters by J.G. Ballard – seven very early and often quite cheesy sci-fi short stories, along with a visionary satire on Vietnam (1969), and then two mature stories from the 1970s which show Ballard’s approach sliding into mannerism
1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the ‘Golden Era’ of the genre, basically the 1950s
1981 Hello America by J.G. Ballard – a hundred years from now an environmental catastrophe has turned America into a vast, arid desert, except for west of the Rockies which has become a rainforest of Amazonian opulence, and it is here that a ragtag band of explorers from old Europe discover a psychopath has crowned himself President Manson, has revived an old nuclear power station in order to light up Las Vegas, and plays roulette in Caesar’s Palace to decide which American city to nuke next
1981 The Affirmation by Christopher Priest – an extraordinarily vivid description of a schizophrenic young man living in London who, to protect against the trauma of his actual life (father died, made redundant, girlfriend committed suicide) invents a fantasy world, the Dream Archipelago, and how it takes over his ‘real’ life
1982 Myths of the Near Future by J.G. Ballard – ten short stories showing Ballard’s range of subject matter from Second World War China to the rusting gantries of Cape Kennedy
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1984 Neuromancer by William Gibson – Gibson’s stunning debut novel which establishes the ‘Sprawl’ universe, in which burnt-out cyberspace cowboy, Case, is lured by ex-hooker Molly into a mission led by ex-army colonel Armitage to penetrate the secretive corporation, Tessier-Ashpool, at the bidding of the vast and powerful artificial intelligence, Wintermute
1986 Burning Chrome by William Gibson – ten short stories, three or four set in Gibson’s ‘Sprawl’ universe, the others ranging across sci-fi possibilities, from a kind of horror story to one about a failing Russian space station
1986 Count Zero by William Gibson – second in the ‘Sprawl trilogy’
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa
1988 Mona Lisa Overdrive by William Gibson – third of Gibson’s ‘Sprawl’ trilogy in which street-kid Mona is sold by her pimp to crooks who give her plastic surgery to make her look like global simstim star Angie Marshall, who they plan to kidnap but is herself on a quest to find her missing boyfriend, Bobby Newmark, one-time Count Zero; while the daughter of a Japanese gangster who’s sent her to London for safekeeping is abducted by Molly Millions, a lead character in Neuromancer

1990s
1990 The Difference Engine by William Gibson and Bruce Sterling – in an alternative version of history, Charles Babbage’s early computer, instead of being left as a paper theory, was actually built, drastically changing British society, so that by 1855 it is led by a party of industrialists and scientists who use databases and secret police to keep the population suppressed

J.G. Ballard: poet or prophet?

I’ll give the game away right at the start by stating that I think Ballard is much more obviously and convincingly a prose poet than he is a social ‘prophet’.

The argument

Ballard is routinely and predictably described as a ‘prophet’, by reviewers, critics, fans and academics. The Atrocity Exhibition is described on the back as:

One of the most prophetic, enigmatic and original works of fiction of the late-twentieth century.

The Atrocity Exhibition is Ballard’s most concentrated book – a prophetic masterpiece. (Introduction by V. Vale & Andrea Juno)

But was he, though? There are several reasons for thinking not:

1. A prophet of what, exactly?

Ballard’s work divides pretty neatly into two types: there’s the science fiction which includes his early disaster novels and most of his short stories, many of which are wildly speculative and set in catastrophic futures – and then the later novels, from around 1970 onwards, which are increasingly rooted in the reality of the present day with its motorways, high rise buildings, advertising billboards and gated communities in the South of France., although weird futures continue to crop up in his short stories…

When people say ‘prophetic’ they’re generally talking about the latter works. And what do they mean? They mean that Ballard described in searing, super-vivid prose the feeling of being overloaded by media stimuli, the alienating experience of inhabiting bleak modern concrete urban environments, the terror which sometimes comes over you when you find yourself trapped in an eight-lane highway packed with sleek metal boxes hurtling past at inhuman speeds.

He captured and conveyed that sense of nervous breakdown in a series of mind-blowing semi-experimental novels from 1970 to 75, being The Atrocity Exhibition, Crash, Concrete Island and High Rise. Each of these deals very intensely with nervous breakdown, physical and moral collapse which derives directly from the inhumane modern built environment.

And yet… forty years later, society hasn’t broken down, has it? People now accept modern architecture and the great sweep of motorway flyovers carving through their cities. It can still be painted as a dehumanising environment by artists and film-makers. But most people, most of the time, are not having nervous breakdowns and reverting to the primeval savagery depicted in High Rise.

And many of the specific aspects of his urban fiction feel very dated now.

Take the images of Vietnam which thread through The Atrocity Exhibition and Crash. Vietnam was the first TV war and in all probability the last, as every Western government saw what giving unfettered access to reporters and TV journalists did i.e. eroded domestic support. In my reviews of the career of Don McCullin I note that he several times says how disappointed he was not to be allowed to accompany the Falkland Islands task force: the government had learned its lesson; only tame journalists whose access could be controlled and monitored were allowed along.

The British have been involved in a number of conflicts since – Yugoslavia, Sierra Leone, Iraq twice, Afghanistan –  but they have been completely controlled and packaged by governments and willing broadcasters. The really bad craziness which spilled into the living rooms of the average suburbanite, and was an important component in the hysterical mood of those novels, is long, long gone.

TV itself has also been utterly internalised and neutralised. In his experimental books, television is new enough to prompt paragraphs of media studies-style shock and astonishment at the bizarreness of the medium itself interrupting footage of burning villages to bring us commercials about bath cleaner.

But both ends of this spectrum have been blunted. We rarely if ever see the kind of war scenes Ballard is invoking; and everybody has learned to tune out the ads. The advent of the internet means that you can binge watch entire series of dramas or soaps without ever seeing an ad. there are a lot of aspects to this, but one is that the average punter is much more in control, instead of being bombarded with shocking images like the subjects of some extreme social experiment, which is how people appear in those novels.

Similarly, huge roadside billboards were relatively new in the 1960s but, again, old hat by now. Even the TV-style moving ads on the Tube are easy to blank out and ignore.

In other words, a lot of the elements Ballard described with such fantastically super-charged prose poetry from 1966 to 1973 are now almost over-familiar and bereft of threat. Ask my kids if they feel the saturated mediascape is giving them a nervous breakdown and (if you can get them to lift their eyes from the latest Netflix binge-watch) they’ll laugh in your face.

But his fans – and others who plough the same kind of furrow, either as media studies-type academics or contemporary writers – persist in focusing on these aspects of his work.

In his introduction to the 2014 edition of The Atrocity Exhibition, the novelist Hari Kunzru doggedly repeats this idea, that Ballard’s books are mind-expanding, shock revelations which still ‘disturb’ and ‘interrogate’ and ‘undermine’ reality or modern society and all the other tired, familiar art house, would-be ‘radical’, art-curator terminology.

Kunzru slots Ballard into the same, tired old lineage, the same dusty avant-garde genealogy which reaches back to the French bourgeoisie-shockers, via Dada and the Surrealists, to the Beats in the 1950s, the Situationists in the 1960s, and so tiredly on.

But how can something be avant-garde if it’s 50 years behind the times?

I keep reading political commentators saying Labour lost the 2019 election because they were still talking the language of the 1960s, or even of the Victorian era – trapped in the delusion that there is one, homogeneous, cloth-capped, Northern working class which will always give them their vote, come what may. Wrong. The world has changed.

I can’t help feeling the same about the so-called avant-garde tradition. Nowadays talk of Dada and the Situationists feels like the treasured possession of old and out-of-date intellectuals, solemnly showing you a box of faded newspaper cuttings from the mid-1960s as if they bear any relation to the situation and experiences of the present day.

‘Look at the taboo-busting way his characters arrange prostitutes in the posture of car crash victims’, the ageing college lecturer tells us, everso proud of his yoof credentials.

The reality is that the future hasn’t shocked, disturbed, unsettled or traumatised the human spirit anywhere near as much as the solemn talk of transgressive avant-gardes would have us believe. The Archers is still running, as is Coronation Street. They still wave flags at the Last Night of the Proms. Top of the bill at this year’s Glastonbury? Paul McCartney and Diana Ross.

The future is now and people are loving it, streaming their favourite shows, chatting away to Alexa, listening to any music from anywhere at the click of a button, ordering up tasty Deliveroo meals, ordering an Uber to go home after a great night out, and generally living it up.

Compared to the wholesale way the vast majority of the population owns and revels in our technological present, Kunzru proudly telling us how excited Michael Moorcock was in 1966 when he found that the front room of Ballard’s flat was covered in a collage of pages cut out from Chemistry News seems ridiculous. Yes, granddad. We’ve seen your collection of 1960s literary magazines before, granddad. Yes, they’re very interesting, granddad. But now it’s time for your medication and your nap.

2. Two specific ways Ballard was not prophetic

Prophetic means: ‘accurately predicting what will happen in the future’. I’m now looking at the other strand in Ballard’s work, the overtly science fiction strand. Rereading these stories, mostly about dystopian futures, kept making me thing two obvious points.

1. Population boom In all of Ballard’s futures, the population has vanished. In the Ultimate City the population of the world has collapsed, in Low-Flying Aircraft humanity is dying out, in Cage of Sand whole areas of the world have been abandoned, in Chronopolis the big cities have been abandoned. Abandoned cities and terminal beaches, those are the familar zones of Ballard’s imaginarium.

But it’s simple. The world hasn’t emptied. the human population hasn’t plummeted. the exact opposite has happened. In 1970 when the Atrocity Exhibition was published the global population was 3.7 billion. Fifty years later it has doubled to 7.5 billion and counting.

Insofar as Ballard’s imaginary futures depict a world emptied of humans it is not only not prophetic, it is diametrically wrong. A truly avant-garde prose would be trying to grapple, not with what it is to live in abandoned cities occupied by a handful of dazed inhabitants – but what it’s like to live in mega-cities like Tokyo, Delhi, Shanghai. Something more like William Gibson’s well-named ‘Sprawl’ trilogy.

2. Posh characters To the end of his writing carer Ballard described posh, middle or upper-middle-class characters, typified by the large number of educated, open-minded doctors who litter his stories. In a way the typical thing about High Rise is not that the characters end up descending to the depths of bestial depravity, but that they are all such pukka, posh English chaps and chapesses.

This is indicated throughout by his rather haphazard way with names so that lots of the characters have very run-of-the-mill and very English names (Talbot, Vaughan, Clifton and Ransom spring to mind).

I’m not criticising him for describing an almost 100% white middle class milieu, not at all. I’m just pointing out that it is the other, large element of his writing which was diametrically wrong. Society hasn’t carried on consisting of pukka white chaps and chapesses. The exact opposite has happened. Britain has been inundated with immigrants (and I don’t mean just ones with different colour skins, but nearly a million Poles, for example). Our society, and most Western societies have become chaotically multicultural and multilingual and show every sign of continuing in this direction.

I am not criticising Ballard for writing about the social class and kind of people he knew best, not at all. I’m just saying that those of his private and academic fans who try to hold him up as a prophet, a predictor of the future, have to take account of the fact that two of the central imaginative pillars of his fiction didn’t only not come true, but the diametric opposite took place.

3. An argument against deifying writers

Anyway, in my opinion the deifying or worshipping of writers is to be resisted. It is a primitive psychological tendency, it is a way of abdicating our own responsibility to think for ourselves.

Writers should be credited as writers, but not necessarily as thinkers. As thinkers, writers are often very charismatic, but almost always wrong. Morally wrong, yes, though that’s open to endless debate. But more often plain, factually wrong.

Dickens thought that universal free education would eradicate poverty. Wrong. Morris thought a Marxist revolution would liberate the working classes. Wrong. Dostoyevsky though Russia must turn its back on the decadent West to assert its Slavic identity. Wrong. Tolstoy thought we should relinquish all our belongings and live like peasants. Wrong. Gorky thought Lenin was the saviour of the poor. Wrong. Pound thought Mussolini would be a patron of the arts like a Renaissance prince. Kipling thought the British Empire was vital to raise the lesser breeds in our countless colonies. Wrong. Eliot thought Britain would be better off as a religious and ethnically homogeneous kingdom, preferably with few if any Jews. Wrong. Wrong. Wrong.

In my opinion:

  1. Beware of taking any writer as a moral or political inspiration
  2. Judge writers by the quality of their writing, not by their beliefs or pontificating – their beliefs will soon become out of date or controversial or come to seem ludicrous: but their writing, if it genuinely contributes to the life of the language, will live

As Oscar Wilde said, there’s no such thing as moral or immoral writing, there is only good or bad writing.

Ballard the prose poet

So for me, the thing to do is leave these political and ‘moral’ squabbles behind and focus on what Ballard undoubtedly is, which is a creator of some of the most astonishing prose poetry ever written.

What links every element of his career – the disaster novels, the sci-fi stories and the urban nightmare series – is his extraordinary ability to make the English language sit up and beg, dance to his tune, perform extreme sports, coasteer and freebase.

Somewhere Ezra Pound says you ultimately judge a poet by the integrity of his lines, and there are hundreds of breath-taking lines in Ballard, lines no-one else could have written and which take you into wonderful, liberating new realms of language and imagination.

All day he had been building his bizarre antenna on the roof of the apartment block, staring into the sky as if trying to force a corridor to the sun.

Meanwhile the quasars burned dimly from the dark peaks of the universe, sections of his brain reborn in the island galaxies.

Bonfires of Jackie’s face burn among the reservoirs of Staines and Shepperton. With luck he finds a job on one of the municipal disposal teams, warms his hands at a brazier of enigmatic eyes. At night he sleeps beneath an unlit bonfire of breasts.

An airliner rose from the runway four hundred yards to our left, wired by its nervous engines to the dark air.

Catherine peered into my face, as if squinting through the window of a diving helmet.

The nodes of glass scattered on the ground glinted like pieces of discredited coinage.

Laing remembered the stale air in his apartment, tepid with the smell of his own body. By comparison, the brilliant light reflected off the chromium trim of the hundreds of cars filled the air with knives.

The previous night, as he prepared to leave, settling his sons and testing the locks on the doors, Helen had suddenly embraced him, as if wanting him to stay. The muscles of her thin face had moved through an irregular sequence of tremors, like tumblers trying to fall into place.

He resented speaking to Charlotte or to anyone else, as if words introduced the wrong set of meanings into everything.

On page after page Ballard is capable of writing sentences which zing with linguistic verve but also push, exercise and stretch your imagination. Maybe he was a ‘prophet’, you can make a case for or against. but without doubt he was one of the most poetic writers of English prose who ever lived, so plain and factual in appearance, and yet so glitteringly brilliant.


Reviews of other Ballard books

Novels

Short story collections

Pornography, simile and surrealism in The Atrocity Exhibition and Crash

WARNING: This review contains quotations and images of an extremely brutal and/or sexually explicit nature.

The Atrocity Exhibition (1970) is packed with deviant sexual activity, described with a cold clinical detachment, and Crash (1973) is notorious for being one of the most pornographic ‘serious’ novels of the post-war period, not just pornographic but deliberately and studiedly perverse, in that the story is about how the lead characters – both men and women – become fixated on the erotic potential of car crashes.

All this can easily appear gratuitous, designed purely to shock, or to generate publicity and sales.

But apart from all the external arguments we can invoke to defend Ballard, there are arguments in the works themselves which go some way to explaining their extremity.

In particular, one of the recurring characters in The Atrocity Exhibition, the psychiatrist Dr Nathan, is given several speeches where he explains the reason behind the lead character’s obsession with sex – and with extreme, fetishistic sex of the kind Ballard describes in these two books. These two or three speeches explain Ballard’s motivation, contain interesting insights about modern society, and unwittingly shed light on Ballard’s broader approach and technique.

1. Perverse sex resists the trivialisation & commercialisation of sexuality

During the 1960s sex came out of the closet and into all forms of art and media, advertising, music and movies, the mini-skirt, the pill. Ballard’s shock novels both became possible because of this swift liberalisation of social attitudes, but they are also in some measure a reaction against the modern ubiquity of sex:

‘Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.’

The argument is that, as the imagery of sex becomes more ubiquitous in advertising and popular culture, our personal enactments of it unavoidably repeat images, positions, postures, maybe even words and phrases, which we have all seen in the tide of increasingly ‘liberated’ movies and TV dramas. So how can we escape from the sense of simply going through motions done much better on the silver screen by glamorous movie stars, or detailed in a thousand ‘How To Have Better Sex’ books and magazine articles, or in the highly sexualised fiction that we can now read? How can we escape from the nagging feeling that our sex lives have been colonised and occupied by the mass media?

By doing things ‘normal people’ would never dream of.

Thus, at a basic level – level 1 – the characters’ obsession with perverse sex is to some extent justifiable as a rejection of the safe, tame, commercially packaged and sanitised sex lives which are increasingly pushed on us from all directions.

(The irony of David Cronenberg making a glossy movie out of Crash was that he was incorporating into film a glaring example of a work which was trying to rebel against being incorporated into film. Hollywood eats everything. Turns everything into two-hour glamorisation and trivialisation, converts the weird and uncanny into a tried and trusted set of gestural and facial clichés. Which is why I loathe film as a medium.)

2. Car crashes are sexually liberating

But not only is extreme fetishistic sex a way of escaping the stifling ‘norms’ of how-to guides in magazines and on daytime TV – Dr Nathan goes on to assert that there is something specifically exciting and arousing about car crashes.

‘Talbot’s belief – and this is confirmed by the logic of the scenario – is that automobile crashes play very different roles from the ones we assign them. Apart from its ontological function, redefining the elements of space and time in terms of our most potent consumer durable, the car crash may be perceived unconsciously as a fertilizing rather than a destructive event – a liberation of sexual energy – mediating the sexuality of those who have died with an intensity impossible in any other form: James Dean and Miss Mansfield, Camus and the late President.’

Think how vital car crashes are to Hollywood movies, both comedies and catastrophes. Think of the orgasmic pleasure it gave hundreds of millions of cinema-goers to watch the whole world blow up in an orgy of crashing cars, airplanes and tube trains in the blockbuster Armageddon movie 2012, and all the many others like it.

Disaster movies are just a shallow, celluloid re-enactment of something much darker and fiercer in human nature: that we revel in destruction. Ballard is just taking this meme – embedded in countless examples of the most popular popular culture – and pushing it to one absolute limit.

The notion that witnessing car crashes allows the release of sexual energy among onlookers lies behind the semi-satirical ‘survey’s which make up the last sections of The Atrocity Exhibition. These assure us, in the po-faced language of questionnaires and social science, that witnesses of car crashes experience a sharp increase in their libido and report marked increases of sexual activity with their partners in the weeks that follow. Car crashes are hot!

3. Car crash sex is one way into a new form of sexuality

If you combine the two ideas above – 1. that fetishistic sex is a way of avoiding the commercialisation of our own sex lives, and 2. that car crashes are exciting – then you move towards a conclusion, a third idea: that car crash sexual fetishisation may be the gateway into a brand new form of human sexuality.

The deformed body of the crippled young woman, like the deformed bodies of the crashed automobiles, revealed the possibilities of an entirely new sexuality.

This view is repeated again and again in Atrocity Exhibition and Crash, that humans are evolving new relationships with their brutal built environment and with each other, and that the combination of the two – of concrete motorways and shopping precincts and multi-story car parks – is creating a new, dissociated, alienated psychology which is giving rise to a new, hard-edge psychology of sex.

4. Car crashes are telling us something

But then there is a fourth level of meaning: beneath the (normally forbidden and repressed) sexual elements which are liberated (in Ballard’s view) by car crashes, there is another, much deeper level of significance. For while we consciously deplore the loss of life etc, we are nonetheless attracted, compulsively attracted, to the scene of car crashes and to re-enact them over and over again. Why?

For Ballard, the assassination of President Kennedy forms a kind of religious apotheosis of the theme: and God knows American culture, from Oliver Stone to Don DeLillo, has been compelled to replay that moment in Dealey Plaza over and over again, picking at the scar, endlessly hoping the psychological devastation of that one fateful moment can be forced to reveal its true secret, to unfold the real conspiracy which led to the president’s death.

The fruitless investigations and countless personal obsessions with the Kennedy assassination are all trying to do the same thing – to get to the bottom, to find the truth about the world. For it all to make sense.

This is a fourth way of interpreting the meaning of car crashes: they are a weird and perverse emblem of humanity’s obsessive need to make sense of the world.

Dr Nathan, in The Atrocity Exhibition, describes one of the other characters as attempting to restage the Kennedy assassination but this time ‘so it makes sense’, and in the annotations he later wrote for the book, Ballard is (as usual) totally candid about the importance of the JFK assassination to the entire book.

Kennedy’s assassination presides over The Atrocity Exhibition, and in many ways the book is directly inspired by his death, and represents a desperate attempt to make sense of the tragedy, with its huge hidden agenda. The mass media created the Kennedy we know, and his death represented a tectonic shift in the communications landscape, sending fissures deep into the popular psyche that have not yet closed.

For all the characters in Crash, the crashes they’ve been involved and the systems of scars and scar tissue left woven into their bodies are telling them something, are codes whose code books have been lost, ciphers of some meaning trembling just beyond reach.

If you think this sounds eccentric or exaggerated, just cast your mind back to the public reaction to Princess Diana’s death in a car crash: it was epic, it was awesome, the entire nation came to a halt, vast crowds gathered outside Kensington Palace and queued for days to sign the book of condolence. And then her funeral. Every commentator at the time highlighted the sense of excess, that the nation seemed to be traumatised far more than the facts of the matter seemed to justify. My own interpretation was that it was us we were grieving for, for all our lost illusions, dreams and hopes which this fairytale princess had come to symbolise.

And then consider the conspiracy theories about the role of the driver, and the pursuing cars, and the role of MI6 or the Royal Family in ‘assassinating’ her, or was it the Russians or… or… Anything, no matter how far-fetched, in order to give meaning, purpose, shape and coherence to what was, in fact, just a stupid pointless car crash, like so many hundreds of thousands of others.

Well, it is the same forlorn, doomed quest for the elusive meaning at the heart of the violent confrontation between man and machine, for the sense of any meaning at the heart of our lives, which the characters of Crash are condemned to pursue, right up to the book’s logical and senseless climax.

5. Car crashes are examples of Ballard’s obsession with junctures and juxtapositions

But these four interpretations of car crash sex – the sexual and the psychological and the ontological  – themselves overlay an even deeper level of meaning: for in The Atrocity Exhibition in particular we come to realise that the protagonist’s obsession with sex is in fact a sub-set of a much deeper obsession – an obsession with the way things are put together – with the modern world of junctions and conjunctions.

Seen from this perspective, sex is just the most garish and compelling avatar of a far deeper and more abstract structure which exists throughout the world as we know it, which is the joining together of disparate parts.

The Primary Act. As they entered the cinema, Dr Nathan confided to Captain Webster, ‘Talbert has accepted in absolute terms the logic of the sexual union. For him all junctions, whether of our own soft biologies or the hard geometries of these walls and ceilings, are equivalent to one another. What Talbert is searching for is the primary act of intercourse, the first apposition of the dimensions of time and space. In the multiplied body of the film actress – one of the few valid landscapes of our age – he finds what seems to be a neutral ground. For the most part the phenomenology of the world is a nightmarish excrescence. Our bodies, for example, are for him monstrous extensions of puffy tissue he can barely tolerate. The inventory of the young woman is in reality a death kit.’ Webster watched the images of the young woman on the screen, sections of her body intercut with pieces of modern architecture. All these buildings. What did Talbert want to do – sodomize the Festival Hall?

This passage explains in a flash the bizarre linkage of sex and architecture which runs throughout The Atrocity Exhibition and recurs in Crash, in its fetishisation of concrete motorways and multi-story car parks.

Modern brutalist architecture reveals the junctions of floors and ceilings, uprights and flats, struts and pillars, with crushing candour – and it is not altogether irrational to see the brutal slotting of concrete floors into concrete stanchions, stark geometric arrangements of prefabricated parts slotted together to create complicated cantilevered structures – with even the most basic sexual positions; even the missionary position, seen from outside, is quite an unwieldy network of limbs arranged in funny and strikingly geometric angles, four arms, four legs, bearing weights or bent at strange angles – all to arrange for the slotting of a vertical member into an oval orifice.

Seen – just seen – actually observed with no moral or sentimental framework whatsoever – sex is a complicated assemblage of moving parts for dubious ends.

Above all, the interest in angles, angles of entry or penetration, the rectilinear arrangements and poses of the human body, can be quite easily made to seem half-abstract.

The identification of splayed human bodies with the splayed metal plates of cars which have been in catastrophic crashes is not, in the end, that far-fetched.


Modern art and angles

This fetishistic approach seems less exceptional when taken out of the context of novels and literature altogether, and placed in the tradition of modern art.

Remember Ballard was very interested indeed in modern art, confessed in interviews to wanting to have been an artist, and litters his stories with art references. In these respects – exploring sexual perversion, and the geometric aspect of the human body – art was waaaaay ahead of written literature, having discovered the geometry beneath the skin of human beings fifty years before Ballard was writing his rude books.

Nude Descending a Staircase by Marcel Duchamp (1912)

Indeed, Duchamp’s famous painting Nude Descending a Staircase is directly referenced in The Atrocity Exhibition, in The Great American Nude chapter:

Koester parked the car outside the empty production offices. They walked through into the stage. An enormous geometric construction filled the hangar-like building, a maze of white plastic convolutions. Two painters were spraying pink lacquer over the bulbous curves. ‘What is this?’ Koester asked with irritation. ‘A model of A/ 3 1 ?’ Dr Nathan hummed to himself. ‘Almost,’ he replied coolly. ‘In fact, you’re looking at a famous face and body, an extension of Miss Taylor into a private dimension. The most tender act of love will take place in this bridal suite, the celebration of a unique nuptial occasion. And why not? Duchamp’s nude shivered her way downstairs, far more desirable to us than the Rokeby Venus, and for good reason.’

‘Far more desirable to us than the Rokeby Venus’? Discuss.

Bellmer and fetish dolls

Ballard was particularly attracted by the Surrealists, and The Atrocity Exhibition references a dozen or so Surrealist paintings and artists, and the idea of bodies regarded as weird fragments, taken to pieces and reassembled to make bizarre new biologies, was one of Surrealism’s basic strategies.

This is most crudely obvious in the obscene and disturbing mannequins made by the German Surrealist artist and photographer Hans Bellmer (1902-1975). Bellmer made his first recombined ‘dolls’ in 1933, was forced to flee to the Nazis, was welcomed to France by the Surrealists, and after the war continued to produce a stream of erotic drawings, etchings, sexually explicit photographs, paintings and prints, often – the transgressive little tinker – of pubescent girls.

Plate from La Poupée (1936) by Hans Bellmer

This is not just like Ballard, it virtually is the Ballard of The Atrocity Exhibition and Crash, in which men fetishise parts of the female body, pose women in awkward and anti-romantic positions, imagine women’s bodies as multiple fragments or as specific zones blown up to the size of billboard hoardings.

Bellmer explained his thinking thus:

What is at stake here is a totally new unity of form, meaning and feeling: language-images that cannot simply be thought up or written up … They constitute new, multifaceted objects, resembling polyplanes made of mirrors … As if the illogical was relaxation, as if laughter was permitted while thinking, as if error was a way and chance, a proof of eternity.

This could be Ballard talking.

Or take the surprise final work by Marcel Duchamp, the notorious (for the tiny number of people who have heard of it) Étant donnés, which Duchamp laboured over (allegedly) from 1946 to 1966 in his Greenwich Village studio, and which was only discovered after his death.

It consists of a common-or-garden wooden door which contains a peephole through which you see a brutal photo of a nude woman lying on her back with her face hidden, legs spread, and one hand holding a gas lamp against a landscape backdrop.

Étant donnés: 1° la chute d’eau / 2° le gaz d’éclairage (Given: 1. The Waterfall, 2. The Illuminating Gas) by Marcel Duchamp (1946-1966)

Shocked? You’re meant to be. Puzzled? Ditto.

Ballard and the French tradition of épatant la bourgeoisie

In fact, the more you think about it, the more ‘traditional’ Ballard’s two extreme books seem – just not in the well-mannered English tradition.

The Atrocity Exhibition and Crash have nothing in common with the polite and subtle novels about upper-middle-class life of an Anthony Powell from this period, or the works of the so-called Angry Young Men (Osborne, Amis), or the kitchen-sink dramas which came in in the early 60s (Saturday Night and Sunday morning et al).

But they are entirely in the tradition, the very long tradition, of French literary attempts to ‘épater la bourgeoisie’ or shock the middle classes.

This French tradition goes back at least as far as the self-consciously decadent poets and writers of the 1890s, or further back to Arthur Rimbaud writing in the 1870s or further back to Baudelaire’s poems about hashish and prostitutes, Les Fleurs du Mal in 1857, or maybe all the way back to the Marquis de Sade and works like The Hundred Days of Sodom (1785) which set out to scientifically catalogue every kind of sexual position and perversion conceivable to the mind of man.

By 1924 when André Breton published his Surrealist Manifesto France had had seventy years or so of ‘radical’ artists determined to use sex and obscenity to disrupt what they saw as the placid banality of bourgeois life.

Courbet scandalised the bourgeoisie with his Realism, Flaubert with the ‘immorality’ of Madame Bovary. Monet scandalised the bourgeoisie with his naked women at a picnic, the Impressionists with their shapeless ‘daubs’. Zola scandalised the bourgeoisie with his blunt Naturalism and frank depictions of Paris prostitutes (in Nana). The Decadents scandalised the bourgeoisie with their over-ripe dreams of drugs and unmentionable perversions. The Cubists scandalised the bourgeoisie with their collages and geometric shapes. The Surrealists shocked the bourgeoisie with their revelation of the sexual perversions lurking just beneath the surface of human consciousness. And so on…

In other words, in France, there is a very well-established and totally assimilated tradition of artists, novelists and playwrights doing their best to shock the bourgeoisie. Seen from this perspective Ballard is hardly a pioneer, more of a late-comer which, I think, sometimes explains the rather bloodless and placid feel of even his most ‘scandalous’ novels. Even when I first read them in the 1970s I had the sense that I’d somehow already read them and now, 40 years later, I think that’s because he was in fact channelling well-established tropes and notions (albeit from the Continental tradition) and simply updating them for the age of helicopters, napalm and multi-story car parks.

Surrealism, the art of juxtaposition and Ballard

At the core of Surrealist practice was the idea of the jarring juxtaposition of completely disparate elements.

It was while reading Les Chants de Maldoror, published in 1869 by Isidore-Lucien Ducasse under the pseudonym the Comte de Lautréamont, that the godfather of the French surrealists, André Breton, discovered the phrase that became foundational to the surrealist doctrine of objective chance:

as beautiful as the chance encounter of a sewing machine and an umbrella on an operating table.

Striking juxtapositions are a core element of the Surrealist aesthetic.

Thus when Ballard makes systematic, obsessive and repeated comparisons between the splayed bodies of naked women and a) the hard angles of brutalist concrete architecture, and b) the splayed metal and shattered windscreens of car crashes, he is following the Surrealist aesthetic to a T.

Although our imaginations are bombarded with adverts, films and novels encouraging us to think of sex as a smooth and sensual affair, not very different from eating a Cadburys Flake, anybody who’s actually had sex knows that it can also be quite energetic and brutal, that it contains elements of aggression and domination, compliance and submission which are hovering on the brink of possibility, waiting to be isolated and encouraged.

Since Fifty Shades of Grey became the fastest-selling novel of all time, we as a culture have become much more open about aspects of bondage or BDSM as it is now known and marketed in High Street sex shops, leading to a great deal more sexual experimentation of the kind Ballard describes in his books.

The identification of sex with car crashes was deeply shocking in the repressed 1960s, and upsets the simple-minded to this day, but both visually and conceptually, I am persuaded by Ballard that it is born of a deep, latent similarity between the two events.

Similes and Surreal juxtapositions

This gesture, the idea of the unexpected linking together of disparate elements, echoes some of the points I made in my essay about the importance of similes in Ballard’s writing.

Ballard uses similes a lot. So do other writers, but from his earliest novels Ballard as a writer is notable for the striking and outré comparisons he makes: a woman’s eyes are like dragonflies, wrecked cars look like Saurian lizards, high rise buildings tower overhead like glass coffins.

Ballard’s mind is always making comparisons and correlations, moving from the real concrete thing being described to often wild and unlikely analogies so that when you read a Ballard text you are not only reading about things themselves but are continually projected or flung into the full flood of his uncanny imaginarium.

This is another way to understand the obsession with geometry, planes and angles in The Atrocity Exhibition. It is like the technique of simile but converted into the language of geometry. You can think of all the references to angles and geometry as like being structural containers for similes, but without the actual content. Lines from the draft of a painting waiting to be filled in.

Looked at from this point of view, the linkage of porno sex to car crashes, and the various angles and shapes made by women’s bodies to the architectural shapes of concrete flyovers or modernist hotels, is in a sense only taking the metaphor-making tendency intrinsic in all Ballard’s fiction to extremes.

Ballard himself acknowledges the weirdness and extremity of some of his analogies at various points in the text:

This can be carried to remarkable lengths – for example, the jutting balconies of the Hilton Hotel have become identified with the lost gill-slits of the dying film actress, Elizabeth Taylor.

Extremes of disgust, in some critics’ minds; but extremes of delirious insight and extraordinary beauty, in my opinion. I am particularly haunted by his obsessive use of the idea that human faces contain implicit lines and planes which project outwards, forming complex three-dimensional geometries.

His eyes stared at Travis, their focus sustained only by a continuous effort. For some reason the planes of his face failed to intersect, as if their true resolution took place in some as yet invisible dimension

The planes of their lives interlocked at oblique angles, fragments of personal myths fusing with the commercial cosmologies.

The planes of his cheekbones and temples intersected with the slabs of rainwashed cement, together forming a strange sexual modulus.

For English readers in 1970 this was weird and revolutionary stuff and it still has the power to stun and disorient today. But deep down, is it anything more than a putting into words of the visual effects created by about ten thousand cubist portraits from fifty years earlier?

Young Man in a Gray Sweater (1914) by Diego Rivera

Ballard’s fundamental strategy in these two shattering books is to contrast the soft and (for most people) precious and sentimental idea of the human body, especially its most sensitive, erogenous and private zones – breast and pubis, penis and vulva – and juxtapose them with the most public, hard-edged, angular and manufactured objects of the modern world – cars, roads, brutalist buildings.

Although the books contain hundreds of individually brilliant similes and metaphors, I couldn’t help thinking that underlying most of them and the deeper structures of the books’ themes and ideas, were the profoundly disruptive and innovative strategies of early 20th century Modernist art.


Reviews of J.G. Ballard’s books

Novels

Short story collections

Surrealism reviews

Exhibitions

Books

Crash by J.G. Ballard

WARNING: This review contains written text of an extremely brutal and explicit sexual nature.

Crash is Ballard’s most ‘controversial’ book because of its combination of psychotic behaviour (the characters’ obsession with car crashes) with extraordinarily powerful pornographic writing. It depicts the sexual fetishisation of car crashes with tremendous intensity:

In these crude photographs, Vaughan had frozen my uncertain embraces as I edged my wounded body into its first sexual encounters since the accident. He had caught my hand stretching across the transmission tunnel of my wife’s sports car, the inner surface of my forearm dented by the chromium gear lever, my bruised wrist pressing against the white flank of her thigh; my still-numb mouth against Renata’s left nipple, lifting her breast from her blouse as my hair fell across the window-sill; Helen Remington sitting astride me in the passenger seat of her black saloon, skirt hitched around her waist, scarred knees pressing against the vinyl seat as my penis entered her vulva, the oblique angle of the instrument panel forming a series of blurred ellipses like globes ascending from our happy loins.

The book is packed with scenes like this, in which the two central male characters become sexually addicted to fantasies of brutal car crashes, masturbating and ejaculating over their photos and film footage of terribly car wrecks or paying prostitutes to adopt the postures of car crash victims for their semen-filled, pornographic satisfaction.

Source explanations in The Atrocity Exhibition

Why? Well, a clue is given in one of the intense, experimental texts which make up Crash’s predecessor, The Atrocity Exhibition. In it are several little speeches given by the book’s resident psychiatrist, Dr Nathan, who suggests that:

‘Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.’

And later the same idea is repeated:

‘Sex is now a conceptual act, it’s probably only in terms of the perversions that we can make contact with each other at all. The perversions are completely neutral, cut off from any suggestion of psychopathology – in fact, most of the ones I’ve tried are out of date. We need to invent a series of imaginary sexual perversions just to keep the activity alive.’

Nathan is suggesting that conventional sex has become so ‘vanilla’, and we humans so incapable of reaching each other during it, that only extreme perversions and pornography can nowadays prompt a response, a reaction, a genuine connection.

The Atrocity Exhibition doesn’t stop at car crashes, but suggests the erotic potential of newsreel atrocities, napalm burning Vietnamese villages, and speculates that eye witnesses to the Kennedy assassination experienced a surge in their sex lives for months afterwards. The book is saturated to overflowing with sexual imagery and feelings.

Ballard is being frank about the way that sex, sexual arousal and sexual excitement is nowhere near as easily defined or controlled as we like to think. But in Crash he is concentrating on the weird obsession people have with cars, on cars as the focal point of post-war culture.

The mystique of car crashes

Crash is obviously related to the famous exhibition Ballard put on in 1969 titled Crashed Cars, displaying three auto wrecks complete with photos of their original locations and conditions, an exhibition which scandalised right-thinking people at the time but would pass with barely a flicker today (it was fifty years go, after all).

Why stage it at all? Because there is something genuinely hypnotic and entrancing about car crashes. We stop to stare at them on the motorway or the street but, more symptomatically, our culture is full of all sorts of thrills and excitements to do with cars, from Formula One racing to stock car rallies to the American fad for demolition derbies, and thousands of movies which feature ‘thrilling’ car chases.

Crash is only really taking the idea of risk and excitement implicit in our culture’s obsession with cars to its logical, intense and irrational conclusion.

It is clear that the car crash is seen as a fertilizing rather than a destructive experience, a liberation of sexual and machine libido, mediating the sexuality of those who have died with an erotic intensity impossible in any other form. (The Atrocity Exhibition)

Part of what shocked readers then and now is the calm, detached, scientific way in which Ballard describes, using only the correct biological terminology (there are no swearwords anywhere in the book), the sexual obsession of the two central male figures, their erections, the shape of their penises, the way they rub the glans against the hand or shoulder of a paid-for prostitute, and the calm way he describes arranging the prostitutes so that their ‘vents’ and ‘clefts’ are presented in stylised poses, or imagines the vaginal mucus of the film star who both men are obsessed with, Elizabeth Taylor.

Vaughan propped the cine-camera against the rim of the steering wheel. He lounged back, legs apart,one hand adjusting his heavy groin. The whiteness of his arms and chest, and the scars that marked his skin like my own, gave his body an unhealthy and metallic sheen, like the worn vinyl of the car interior. These apparently meaningless notches on his skin, like the gouges of a chisel, marked the sharp embrace of a collapsing passenger compartment, a cuneiform of the flesh formed by shattering instrument dials,fractured gear levers and parking-light switches. Together they described an exact language of pain and sensation, eroticism and desire.

Part of the book’s transgressive thrill comes from the way the most outlandish sexual impulses are treated in this blank, detached, factual way. ‘Have you no shame, no manners, no restraint?’ the books critics asked. No, replied Ballard.

The collision of our two cars, and the death of her husband, had become the key to a new sexuality. During the first months after his death she moved through a series of rapidly consumed affairs, as if taking the genitalia of all these men into her hands and her vagina would in some way bring her husband back to life, and that all this semen mixed within her womb would quicken the fading image of the dead man within her mind.

See – no swearwords, just a documentary factuality. But of a subject (‘all this semen mixed within her womb’) that is usually discussed and described in polite circumlocutions (‘she had several boyfriends after her husband died’). It is this incredibly blunt reduction of all aspects of relationships to penises and vulvas which is, I think, the most calculatingly offensive aspect of the book.

The plot – short version

The plot is fairly straightforward: The married narrator is a professional producer of TV commercials. He has a car crash and as a result finds his (already rampant) sexuality being warped into re-enacting or remembering the crash, not least with the woman survivor of the car he crashed into, Dr Helen Remington. He is spied on and then meets Dr Robert Vaughan, a former TV presenter and a man obsessed with the sexual fetishisation of car crashes. He meets Vaughan’s small circle of fellow scarred crash survivors, and both the narrator and his wife find themselves drawn into the sexual fetishisation of car crashes in its most intense form, exploring the outer limits of perverse sexuality, before the book ends with Vaughan’s failed attempt to crash his car into the limousine of Elizabeth Taylor, the Hollywood film star who is in London to make a film.

The plot – long version

The (initially unnamed) first-person male narrator is a 4-year-old producer of television commercials (p.80) and lives near the film studios in Shepperton, west of London. He has a wife named Catherine and is having an affair with his secretary, Renata. One day he is involved in a car crash, his tyre blows out, propelling his car across the central reservation into the path of an ongoing car and they collide head-on. The male driver of the other car is thrown clean through the windscreen and bleeds to death all over the narrator, the man’s stunned wife staring into his eyes.

Narrator and wife – now widow – are taken to Ashford hospital where they both slowly recuperate and notice a burly doctor prowling around. Through a series of events the narrator finds himself bumping into the crash victim, whose name is Dr Helen Remington.

First a note that his sex life with his wife was already intensely erotic. She has affairs with fellow pilots or businessmen, knowing about his affair with Renata. During their marital sex, together they describe and/or re-enact Catherine’s latest sexual adventure and, at the moment of climax, she reveals her latest lover’s name.

The narrator drives Renata to the location of the crash, parks on the hard shoulder, and proceeds to have sex with the reluctant woman. A car is parked not far behind them and he notices a man with a camera. Later he’ll find out this was Vaughan voyeuristically photographing him.

A few days later, having dropped his wife at her work, the narrator picks up one of the hookers who hang round London airport and drives her to the top of Northolt multi-story car park to have sex. She is giving him a blowjob when a flashbulb goes off. Detaching himself and getting out, the narrator follows the photographer back to his car and realises a) it is the same man he saw prowling in Ashford hospital and parked behind him on the hard shoulder b) it is Dr Robert Vaughan, former computer scientist with a glamorous career as a TV presenter (a new type of crossover figure in the late 1960s and 70s). Vaughan refers to the narrator as ‘Ballard’. Aha. It is one of those kinds of novels, the kind where the narrator has the same name as the author. Not very often, though, so I’ll continue to refer to him as ‘the narrator’ since this is how he comes over in the text.

A week or so later, Ballard goes to the Northolt police pound to find his wrecked car, he finds Helen there. They drift into conversation and, in an electrifying scene, he offers to drive her home and they find themselves driving towards the location of the crash. The narrator becomes carried away by hyper-sexual fantasies

I followed the queue of cars, already thinking of how she would behave during sexual intercourse. I tried to visualize her broad mouth around her husband’s penis, sharp fingers between his buttocks searching out his prostate.

The narrator surreptitiously rubs the glans of his penis against the steering wheel until he ejaculates. He is quite shaken up; Helen seems to notice, and she puts his hand on her shoulder and guides him to a quiet side street, where she tells him about her job in the immigration department of the airport, while the narrator trembles with complicated lusts. He drops her home.

A week after the coroner’s inquest, the narrator sees Helen waiting at a bus stop at one of the airport terminals and offers her a lift. Once again they ascend the motorway and head towards the crash site. She presses against his shoulder. Wordlessly he comes off the motorway and drives to a deserted service road among the reservoirs. Here they have shatteringly erotic sex, mutual masturbation followed by her mounting him, all parts of their bodies in contact with the complicated mouldings, plastic and glass of the car’s interior.

The plastic laminates around me, the colour of washed anthracite, were the same tones as her pubic hairs parted at the vestibule of her vulva. The passenger compartment enclosed us like a machine generating from our sexual act an homunculus of blood, semen and engine coolant.

Over the next few weeks they have sex in his car routinely, but discover they can’t achieve it at her house: he can’t get an erection, she gets irritable and snappy.

While his wife is away at some conference the narrator takes Helen to a stock car rally – his jilted secretary gave him two tickets as an ironic gesture. One of the contestants is a wrecked-looking man with a ponytail of white hair who we learn is named Seagrave, a former stunt driver at Shepperton studios. He is encouraged in taking part by none other than the sinister Dr Vaughan.

When the stunt Seagrave is involved in goes wrong, Vaughan asks Helen to accompany him as he drives Seagrave to the nearest hospital, with the narrator following in his car. Once at the hospital, Helen takes Seagrave in, while the narrator gets into the passenger seat of Vaughan’s car. It is here, during their long wait, that the narrator first becomes sexually attracted to Vaughan and his (already hyper-active sexual imagination) fantasises about holding the bigger man’s penis, about masturbating him, or being entered by him, and almost sees the globules of the big man’s sperm spurting across the car dashboard. (It is like this all the way through.)

When Seagrave is released, Vaughan takes him, Helen and the narrator back to Seagrave’s house. Here they meet his thin nervy 30-year-old wife Vera, his 2-year-old son, and two friends, a TV producer who worked with Vaughan early in his career and a 30 year-old social worker named Gabrielle who has metal braces on her arms and back from a severe crash. While they sit on Seagrave’s sofa in his suburban house, Vaughan takes Ballard out to the back where he shows him his ‘project’, which is a big album of photos showing every stage of Gabrielle’s life from the crash, which he attended and helped at, through every stage of her recovery. Entranced, the narrator realises the crash blessed her with an entire new sexuality.

This agreeable young woman, with her pleasant sexual dreams, had been reborn within the breaking contours of her crushed sports car. Three months later, sitting beside her physiotherapy instructor in her new invalid car, she held the chromium treadles in her strong fingers as if they were extensions of her clitoris. Her knowing eyes seemed well aware that the space between her crippled legs was constantly within the gaze of this muscled young man. His eyes roved among the damp moor of her pubis as she moved the gear lever through its cage. The crushed body of the sports car had turned her into a creature of free and perverse sexuality, releasing within its twisted bulkheads and leaking engine coolant all the deviant possibilities of her sex.

Then Vaughan shows the narrator the sequence of photos he’s taken of him, in the car crash, in hospital, in cars having sex with Renata and then Helen. The narrator isn’t offended or upset, he’s fascinated. then Vaughan shows him the next stage of the project: photos of the movie star Elizabeth Taylor, who is currently in London, staying at the Hilton Hotel while she makes a movie at Shepperton Studios. Vaughan asks if the narrator knows her. Well, obviously not. But she is making a film at Shepperton and the narrator has an office there to produce commercials.

A few days later the narrator is at the studio, watching Liz Taylor herself be made up for the next scene of her film which is, eerily, spookily and unsurprisingly- a car crash. not only that, but Seagrave is being made up as Elizabeth Taylor in order to be her stunt double. There’s a kerfuffle at the door of the studio and the narrator sees Vaughan fighting off a security camera who is trying to take Vaughan’s camera away. Vaughan is a big man and retains it. He intends to photograph the scene.

The scene cuts to the narrator in bed with his wife. She is a very dirty lady, they are perfectly suited, as their marital sex reaches a climax, she asks the narrator insistently about Vaughan – has he seen Vaughan’s penis, how big is it, what shape is it, has he sucked his penis, would he like to, what flavour is his semen – and so on, until they both have thunderous orgasms.

In The Atrocity Exhibition some of the characters speculate about the invention or advent of a ‘new sexuality’. I realise that in Crash all the characters are living a new sexuality, and not just the men, not at all:

Gabrielle ‘The crushed body of the sports car had turned her into a creature of free and perverse sexuality’

Catherine ‘That Catherine should choose Vaughan, whose manic style summed up everything she found most unnerving, struck me as perfectly logical. The multiple car-crash we had seen had sprung the same traps in her mind as in mine.’

Helen ‘The collision of our two cars, and the death of her husband, had become the key to a new sexuality… Only in the car could she reach her orgasm.’

Helen has got a new job at the Road Research Laboratory. She takes the narrator along to witness one of those staged car crashes where the car is full of text crash dummy mannequins. Inevitably, Vaughan shows up, with his camera, and surreptitiously masturbates as the crash is carefully and elaborately staged by the RRL technicians, and Ballard gives a minutely detailed, moment-by-moment description of the test car crash, as filmed in slow motion.

Shavings of fibreglass from [the test motorbike rider’s] face and shoulders speckled the glass around the test car like silver snow, a death confetti.

The 30 or so spectators, including the Minister’s wife, stand around in silence, dumbfounded. It is like a religious ceremony. The narrator glances across and sees the wet patch at Vaughan’s crotch. Then Vaughan strolls over to the smashed car, wrenches open the front door and wedges onto the seat next to the mangled mannequin. Later he drives the narrator home and shows him the questionnaires he’s been getting his ‘friends’ and contacts to fill out, asking which politicians or celebrities they would like to see in car crashes; what sort of crashes they would be; what kind of wounds the celebrities would receive. The answers amount to an encyclopedia of physical atrocities which Ballard takes to the limit and beyond, as the entire book is intended to.

As Vaughan turned the car into a filling station courtyard the scarlet light from the neon sign over the portico flared across these grainy photographs of appalling injuries : the breasts of teenage girls deformed by instrument binnacles, the partial mammoplasties of elderly housewives carried out by the chromium louvres of windshield assemblies, nipples sectioned by manufacturers’ dashboard medallions; injuries to male and female genitalia caused by steering wheel shrouds, windshields during ejection, crushed door pillars, seat springs and handbrake units, cassette player instrument toggles. A succession of photographs of mutilated penises, sectioned vulvas and crushed testicles passed through the flaring light…

They pull over at a motorway services where the narrator buys a couple of bottles of wine, Vaughan rolls some joints and they pick up a couple of whores. The blonde sits in front next to the narrator as he drives, but in the back seat Vaughan subjects the dark-haired, slim-hipped one to extraordinary humiliations, moving and arranging her body into the postures of crash victims, exploring her cleft and orifices with scientific detachment, continually changing their positions. As he drives, the narrator realises he can control the sexual junctions taking place in the back by varying his speed, overtaking, accelerating, or going down exit ramps. Vaughan climaxes, they drive back to the services and dump the girls.

Over the next few days Vaughan bombards requests to get access to the actress and hand her his questionnaire. He is mad. In the narrator’s office he feverishly draws in imaginary car crash wounds on a publicity photo of Elizabeth Taylor while hitting his penis in a karate chop gesture, working himself towards orgasm, till the narrator stops him, all too aware of how aroused he is by Vaughan’s arousal. The narrator is fantasising almost continually about performing fellatio on Vaughan or being sodomised by him.

A few days later the narrator is driving Vaughan and Catherine back from the airport into central London. They are forced to slow down by the emergency services surrounding a three-car pile-up. The postures of the victims are graphically described as well as the firemen’s efforts to cut them out of the wreckage. They park on the hard shoulder a hundred yards further along, and Vaughan leaps out with his camera. A footbridge over the motorway is packed with sightseers gawping at the crash. The narrator notes the sexualised atmosphere, with the gawpers eventually leaving, arms round their partners.

On the way back into London the narrator pulls over into a service station and pays to go through the car wash repeatedly, while Vaughan has sex with his wife in the back seat, arranging their bodies in a series of stylised postures. Back in their apartment, the narrator dabs the wounds and bruises on her body with the tip of his penis.

Increasingly in thrall to Vaughan, the narrator becomes his unofficial chauffeur as they first steal cars, then borrow them using passkeys obtained from Seagrave’s wife for cars parked at the airport, and drive round looking for crashes or picking up whores or just available girls who Vaughan can position and abuse in innumerable poses in the back seat.

It’s during this period that they arrive at a devastating crash scene in order for Vaughan to a) get his camera and flash bulbs and take countless photos of the woman victim as she lies mangled across the front seats b) then cradle her head as she bleeds out into her white blouse and c) soon afterwards pick up a cheap prostitute and, in the back of his and the narrator’s car, makes her adopt the posture of the dying woman, examining her from all angles, and stylising her position before ejaculating over her.

They arrive at another crash to find the car of a middle-aged dentist has rolled over and off the road into a suburban garden. Waiting till the police and other services have quite left, Vaughan jumps down into the garden, takes his penis out and rubs it along various surfaces of the car. Finding a piece of chalk the police had used, he draws an outline of his penis against the paintwork. Pleased, he draws a succession of penis outlines all over the car and across the car’s seats and dashboard.

Vaughan, Gabrielle and the narrator visit the Motor Show at Earl’s Court. Showroom salesmen are embarrassed by Gabrielle’s extensive wounds and braces. Later, the narrator has sex with Gabrielle in her car, both of them bored with the conventional motions, until she starts kissing and sucking his scars, and he pushes his erect penis into the scarred grooves and clefts of her body caused by her crash. At which point they both become very aroused, and go on to have sex in her car over the following weeks.

The final chapters describe Vaughan’s increasing restless frustration. It’s a shock to both of them when they hear on the police radio of a crash involving Vaughan’s muse, Elizabeth Taylor. When they get to the scene they realise that – garishly and gruesomely and ironically – it is the raddled old stuntman, Seagrave, wearing the Elizabeth Taylor he’s been paid to wear when he was her body double in the staged car crash in the film she is still making at Shepperton.

Seagrave was high on LSD and drive head-on into the car of a faded TV presenter, and is dead, the present badly injured, and Vaughan follows the stretcher bearers carrying her to the ambulance (only to be turned away by the police who are coming to know Vaughan and his suspicious behaviour). Later he picks up a prostitute and rams his erect penis down her throat for ten minutes straight, making her gag and then vomit.

As the narrator accompanies Vaughan on their midnight outings to film or photograph crash scenes, or pick up prostitutes to arrange in ever more ghoulish postures of crash victims, the narrator realises his is increasingly attracted to Vaughan’s own sexuality, letting his homosexual tendencies become evermore obvious until, as he watches Vaughan copulating with prostitutes in the back seat of their car, he imagines it is he himself who is submitting to Vaughan’s oily, scarred hands and receiving his swollen penis in his anus or mouth.

The ante-penultimate chapter (21) is devoted to an extraordinarily vivid description of an acid trip, Vaughan giving the narrator a sugar cube dipped in acid as they set off driving and the drug kicking in as the narrator drives along the motorway, the text becoming carefully more visionary to reflect the gathering hallucinations.

Despite being tempted to drive into the oncoming traffic they manage to negotiate their way to a quiet slip road where, tripping off their faces, the narrator finally gets his long-held wish and has sex with Vaughan, unbuttoning him and kicking and kissing all his scars, before sucking his penis and then sodomising him and ejaculating in his anus, before the two very odd men return to slumping half naked in the front seats of their parked car, watching the light pour in glory from the crashed cars lying in the wrecker’s yard they’ve stopped next to.

Chapter 22 is brief and describes the narrator coming down from his acid trip, the world slowly returning to its banal grey, as he staggers from Vaughan’s heavy American Lincoln car and takes refuge in a wreck at the entrance to the wrecker’s yard. After an hour or so he stretches and stands up, and is walking back when he hears the roar of an engine and the Lincoln comes racing out from the underpass and tries to kill him, smashing into the side of the wrecked car and tearing down a stretch of the yard’s wooden fence, before roaring off along the slip road.

In chapter 23 it has taken the narrator some days to come down from his acid trip, and he is still having flashbacks and feeling shaken, not only by the intensity of the hallucinations, but by the memory of Vaughan suddenly, aggressively gunning the engine of the car and heading straight for him, trying to run him down.

The affair with Helen seems to have ceased and now he is recovering at the apartment and is looked after by Catherine who, having had sex with Vaughan, understands his addiction. They go out together in his car looking for the damaged archangel of the motorways, the concrete constructions described with the errant luminosity of the acid aftershocks.

They bump into Seagrave’s widow, Vera, at a filling station. She tells them the police are now definitely after Vaughan after an American serviceman was run over at Northolt. The narrator begins to explain that it’s not people but technology that stimulates Vaughan, but Vera cuts him short by telling him she was in the car with Vaughan. Ah. So he’s gone postal, crossed the line, achieved critical mass. Not sleeping or eating, haggard and grim-faced, Vaughan really has become the psychotic killer of the highways.

He is laying in wait for them. Catherine tells the narrator Vaughan followed her home from work at the airport, tailing her. The narrator follows Catherine as protection and next day takes part in a high-speed chase as Vaughan ram up alongside her, fades in the slow lane, then makes another approach and scrapes right alongside Catherine’s right car, before pulling away and disappearing down an exit ramp.

Day after day Vaughan follows Catherine along the expressways and airport perimeter roads. His old heavy Lincoln car is becoming a battered wreck, with dented fenders and wings, quarter windows smashed out, paintwork damaged and bent. The narrator doesn’t warn his wife about Vaughan’s intentions, but then he hardly needs to. Both of them have entered the end-zone, hypnotised by the high speed death-game they’re playing which is, of course, inextricably interfused with a panoply of sex games.

Aware of this coming collision, Catherine had entered an entranced room within her mind. Passively, she allowed me to move her limbs into the positions of unexplored sex acts.

After sex, in the quiet of the night, the narrator hears a heavy car gunning outside. He waits, dresses and goes down. There is Vaughan’s Lincoln, in all its battered dishevelled glory. Inside is a tartan blanket and empty food tins, Vaughan has evidently been living in it, on the run from the police. Catherine appears, she noticed his absence. As they stand beside the wrecked auto in the midnight silence, they hear the roar of another engine and walk back towards the ramp up out of the underground garage of the high rise where they live. Suddenly the narrator’s car appears, driven by Vaughan at manic speed. Before they have chance to cry out, the silver car has swerved round them and off into the night.

Ten days pass and the Lincoln slowly dies, its tyres deflating, rain and leaves getting in through the smashed windows, then a gang of youths completing the decay with a thorough trashing.

The short final chapter returns us to the start. Ballard’s stories are often book-ended like this, opening with a macabre scene and then going back to tell us how we ended up here. This is the structure of Crash. It opens with the narrator arriving at the scene of Vaughan’s final crash, the one in which he tried to collide with the chauffeur-driven limousine of movie star Elizabeth Taylor but missed, sailing through the safety barriers of a flyover and landing into the roof of a passing coach full of tourists. Vaughan is killed outright. Many of the tourists are killed or horribly maimed.

Now the narrator watches the white-faced film star, Liz Taylor, who the entire story has, in a sense, been about, standing by her stationary limo and being comforted by the chauffeur.

As well as the police and ambulance and helicopters fluttering overhead, a huge crowd has been drawn by (untrue) radio reports of the actress’s death and Ballard deploys his hallucinatory skills to great effect to describe the scene as a great stage set.

On the roofs of the police cars the warning lights revolved, beckoning more and more passers-by to the accident site, across the recreation grounds from the high-rise apartment blocks in Northolt, from the all-night supermarkets on Western Avenue, from the lines of traffic moving past the flyover. Lit by the arc-lights below, the deck of the flyover formed a proscenium arch visible for miles above the surrounding traffic. Across the deserted side-streets and pedestrian precincts, the concourses of the silent airport, the spectators moved towards this huge stage, drawn there by the logic and beauty of Vaughan’s death

The final apotheosis of the car crash as media event and public spectacle, liberating a multitude of latent sexual forces, attracting hundreds of sightseers, they know not why, and opening previous unknown doors in their minds.

The Epilogue describes the narrator and Catherine visiting the police pound, the one where he began his affair with Dr Remington, now in search of the wreckage of the car Vaughan stole and died in. They cram themselves into the wrecked back compartment and, inevitably, conduct a small sex act, she sitting astride him to ‘draw off a small spurt of semen after a short throe’. Then they walk among the wrecked cars.

Headlights are turned on, blinding them. Walking round to the car they find it occupied by Gabrielle, the car-crash cripple and Dr Remington. Ah. They are now a lesbian item. They reverse away and are gone. a) They were paying homage to Vaughan’s wrecked car and celebrating his legacy b) Ballard was handily informing us how their story ended up, the narrator pleased that Dr Remington’s explorations of sexual perversity are continuing.

The narrator realises he had cupped his hand under Catherine’s vulva after their sex to catch his oozing semen. Now, in the final scene of the book, they stroll among the wrecked cars and the narrator uses his semen to bless and anoint the instrument panels and steering wheels and handbrakes and all the other implements of pain and wounding and maiming which a car’s passenger compartment contains. It so perfectly conveys the jewelled perversity of the book that it’s worth quoting at length.

When they had gone, Helen’s arm on Gabrielle’s shoulder as she reversed away, Catherine and I moved among the cars. I found that I was still carrying the semen in my hand. Reaching through the fractured windshields and passenger windows around me, I marked my semen on the oily instrument panels and binnacles, touching these wound areas at their most deformed points.

We stopped at my own car, the remains of its passenger compartment sleek with Vaughan’s blood and mucilage. The instrument panel was covered with a black apron of human tissue, as if the blood had been sprayed on with a paint gun. With the semen in my hands I marked the crushed controls and instrument dials, defining for the last time the contours of Vaughan’s presence on the seats. The imprint of his buttocks seemed to hover among the creases of these deformed seats. I spread my semen over the seat, and then marked the sharp barb of the steering column, a bloodied lance rising from the deformed instrument panel.

Catherine and I stood back, watching these faint points of liquid glisten in the darkness, the first constellation in the new zodiac of our minds. I held Catherine’s arm around my waist as we wandered among the derelict cars, pressing her fingers against the muscles of my stomach wall. Already I knew that I was designing the elements of my own car-crash.

Stylised gestures, junctions and angles

Rereading the book I was taken by storm by the intensity of the sexual feelings and fantasies described by the narrator.

But also by another major thread, which is harder to describe and also a lot less sexy and so less grabby and impactful. And this is that, underlying the sexualisation of car crashes there is a kind of deeper level of weirdness, which is the basic, foundational insight – perception – hallucination, call it what you will, whereby Ballard identifies the geometry, the angles and abstract shapes and angles, underlying human bodies, human gestures and human behaviour.

In The Atrocity Exhibition Ballard mentions the Vorticists, the short-lived English avant-garde art movement which flourished just before the Great War. As the Tate website puts it:

Vorticist painting combined cubist fragmentation of reality with hard-edged imagery derived from the machine and the urban environment.

Add intense sexuality to the hard-edged imagery and you have Ballard:

The same unseen sexuality hovered over the queues of passengers moving through airport terminals, the junctions of their barely concealed genitalia and the engine nacelles of giant aircraft…

The same conjunctions, all the more terrifying when they seemed to evoke the underlying elements of character, I saw in the photographs of facial injuries. These wounds were illuminated like medieval manuscripts with the inset details of instrument trim and horn bosses, rear-view mirrors and dashboard dials. The face of a man whose nose had been crushed lay side by side with a chromium model-year emblem. A young coloured woman with sightless eyes lay on a hospital couch, a rear-view mirror inset beside her, its glassy stare replacing her own vision.

If the Vorticists (and the Futurists and other Modernist painters) saw the machine beneath the skin of the human organism, Ballard sees the machine beneath the skin – and then sees the machine and the human having sex.

As I explored her body, feeling my way among the braces and straps of her underwear, the unfamiliar planes of her hips and legs steered me into unique culs-de-sac, strange declensions of skin and musculature. Each of her deformities became a potent metaphor for the excitements of a new violence. Her body, with its angular contours, its unexpected junctions of mucous membrane and hairline, detrusor muscle and erectile tissue, was a ripening anthology of perverse possibilities.

A violent world sensationalised but also sanitised by mass media

There’s another thread running through the book, too, which is the sensationalising of atrocity by the newly available mass media i.e. television and photojournalism magazines.

Commentators in Ballard’s day were paying a lot of attention to the power of this new mass media, ‘new’ mainly referring to the newish technology of television, which was becoming more and more widespread.

It was only a few years since the Canadian philosopher Marshall McLuhan had published his book Understanding Media: The Extensions of Man, in 1964, which introduced the phrase: “The medium is the message”. The imaginative dominance of television was new, and it was taking place at the same time as an explosion in the uncensored coverage of war and atrocity, the mid-60s seeing the burnt corpses of Vietnam brought into everyone’s living room on the nightly news.

To many people, such as McLuhan, it seemed as if the visceral power of TV was introducing a new era in human consciousness and I think it’s important, for a sympathetic reading of the book, to grasp the novelty and power of these new insights about this popular new medium – and then to realise that Ballard was giving them visceral expression, taking to a straight-faced extreme the psychological damage which worried lots of contemporaries.

Here is the narrator’s wife visiting him in hospital after the crash:

Catherine watched me trying to catch my breath. I took her left hand and pressed it to my sternum. In her sophisticated eyes I was already becoming a kind of emotional cassette, taking my place with all those scenes of pain and violence that illuminated the margins of our lives – television newsreels of wars and student riots, natural disasters and police brutality which we vaguely watched on the colour TV set in our bedroom as we masturbated each other. This violence experienced at so many removes had become intimately associated with our sex acts. The beatings and burnings married in our minds with the delicious tremors of our erectile tissues, the spilt blood of students with the genital fluids that irrigated our fingers and mouths. Even my own pain as I lay in the hospital bed, while Catherine steered the glass urinal between my legs, painted fingernails pricking my penis, even the vagal flushes that seized at my chest seemed extensions of that real world of violence calmed and tamed within our television programmes and the pages of news magazines

So it’s not just a book about car crashes and sex: it’s a wider investigation or hallucination about the impact of extremely violent images being served up to quite ordinary citizens day after day after day in newspapers and on TV, and an exploration of the numbing, desensitising, and then disturbing impact this ultimately has on its consumers.

Here is the narrator, who has just driven his secretary to the site of that first crash and parked on the hard shoulder and finds himself in a psychotic state, linking: a) an extreme terminology describing sex and her body with b) the traumatic experience of the crash – all melded with c) the terrible images of human suffering which are now routinely packaged and promoted by the mass media. It makes for a searing combination:

I moved my hand along her thigh. Her vulva was a wet flower. An airline coach passed, the passengers bound for Stuttgart or Milan peering down at us. Renata buttoned her coat and took a copy of Paris-Match from the dashboard shelf. She turned the pages, glancing at the photographs of famine victims in the Philippines. This immersion in parallel themes of violence was a protective decoy. Her serious student’s eyes barely paused at the photograph of a swollen corpse that filled a complete page. This coda of death and mutilation passed below her precise fingers as I stared at the road junction where, fifty yards from the car in which I now sat, I had killed another man.

Car crashes and sex, yes: but also, between the lines, an indictment of the cynicism and exploitativeness of the high-minded magazines and TV programmes which distributed images of atrocity for profit.

If you need novels to have ‘themes’, then it is not hard to extract some weighty and still-very-relevant themes and ideas from this, at first glance, deliberately obscene and provocative novel.


Related links

Reviews of other Ballard books

Novels

Short story collections

Other science fiction reviews

Late Victorian
1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1900s
1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1910s
1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1920s
1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, where they discover…

1930s
1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years – surely the most sweeping vista of any science fiction book
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Oxford academic Ransom and take him in their spherical spaceship to Malacandra, as the natives call the planet Mars

1940s
1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950s
1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the  Foundation Trilogy, which describes the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence, powered by ‘spindizzy’ technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them until one fireman, Guy Montag, rebels
1953 The Demolished Man by Alfred Bester – a breathless novel set in a 24th century New York populated by telepaths and describing the mental collapse of corporate mogul Ben Reich who starts by murdering his rival Craye D’Courtney and becomes progressively more psychotic as he is pursued by telepathic detective, Lincoln Powell
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
Some problems with Isaac Asimov’s science fiction
1956 They Shall Have Stars by James Blish – explains the invention, in the near future, of i) the anti-death drugs and ii) the spindizzy technology which allow the human race to colonise the galaxy
1956 The Stars My Destination by Alfred Bester – a fast-paced phantasmagoria set in the 25th century where humans can teleport, a terrifying new weapon has been invented, and tattooed hard-man, Gulliver Foyle, is looking for revenge
1959 The Triumph of Time by James Blish – concluding novel of Blish’s ‘Okie’ tetralogy in which mayor of New York John Amalfi and his friends are present at the end of the universe
1959 The Sirens of Titan by Kurt Vonnegut – Winston Niles Rumfoord builds a space ship to explore the solar system where encounters a chrono-synclastic infundibula, and this is just the start of a bizarre meandering fantasy which includes the Army of Mars attacking earth and the adventures of Boaz and Unk in the caverns of Mercury

1960s
1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 The Drowned World by J.G. Ballard – Dr Kerans is part of a UN mission to map the lost cities of Europe which have been inundated after solar flares melted the worlds ice caps and glaciers, but finds himself and his colleagues’ minds slowly infiltrated by prehistoric memories of the last time the world was like this, complete with tropical forest and giant lizards, and slowly losing their grasp on reality.
1962 The Voices of Time and Other Stories – Eight of Ballard’s most exquisite stories including the title tale about humanity slowly falling asleep even as they discover how to listen to the voices of time radiating from the mountains and distant stars, or The Cage of Sand where a handful of outcasts hide out in the vast dunes of Martian sand brought to earth as ballast which turned out to contain fatal viruses. Really weird and visionary.
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard space-travelling New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1962 Mother Night by Kurt Vonnegut – the memoirs of American Howard W. Campbell Jr. who was raised in Germany and has adventures with Nazis and spies
1963 Cat’s Cradle by Kurt Vonnegut – what starts out as an amiable picaresque as the narrator, John, tracks down the so-called ‘father of the atom bomb’, Felix Hoenniker for an interview turns into a really bleak, haunting nightmare where an alternative form of water, ice-nine, freezes all water in the world, including the water inside people, killing almost everyone and freezing all water forever
1964 The Drought by J.G. Ballard – It stops raining. Everywhere. Fresh water runs out. Society breaks down and people move en masse to the seaside, where fighting breaks out to get near the water and set up stills. In part two, ten years later, the last remnants of humanity scrape a living on the vast salt flats which rim the continents, until the male protagonist decides to venture back inland to see if any life survives
1964 The Terminal Beach by J.G. Ballard – Ballard’s breakthrough collection of 12 short stories which, among more traditional fare, includes mind-blowing descriptions of obsession, hallucination and mental decay set in the present day but exploring what he famously defined as ‘inner space’
1964 Dr. Strangelove, or, How I Learned to Stop Worrying and Love the Bomb by Peter George – a novelisation of the famous Kubrick film, notable for the prologue written as if by aliens who arrive in the distant future to find an earth utterly destroyed by the events described in the main narrative
1966 Rocannon’s World by Ursula Le Guin – Le Guin’s first novel, a ‘planetary romance’ or ‘science fantasy’ set on Fomalhaut II where ethnographer and ‘starlord’ Gaverel Rocannon rides winged tigers and meets all manner of bizarre foes in his quest to track down the aliens who destroyed his spaceship and killed his colleagues, aided by sword-wielding Lord Mogien and a telepathic Fian
1966 Planet of Exile by Ursula Le Guin – both the ‘farborn’ colonists of planet Werel, and the surrounding tribespeople, the Tevarans, must unite to fight off the marauding Gaal who are migrating south as the planet enters its deep long winter – not a good moment for the farborn leader, Jakob Agat Alterra, to fall in love with Rolery, the beautiful, golden-eyed daughter of the Tevaran chief
1966 – The Crystal World by J.G. Ballard – Dr Sanders journeys up an African river to discover that the jungle is slowly turning into crystals, as does anyone who loiters too long, and becomes enmeshed in the personal psychodramas of a cast of lunatics and obsessives
1967 The Disaster Area by J.G. Ballard – Nine short stories including memorable ones about giant birds, an the man who sees the prehistoric ocean washing over his quite suburb.
1967 City of Illusions by Ursula Le Guin – an unnamed humanoid with yellow cat’s eyes stumbles out of the great Eastern Forest which covers America thousands of years in the future when the human race has been reduced to a pitiful handful of suspicious rednecks or savages living in remote settlements. He is discovered and nursed back to health by a relatively benign commune but then decides he must make his way West in an epic trek across the continent to the fabled city of Es Toch where he will discover his true identity and mankind’s true history
1966 The Anti-Death League by Kingsley Amis
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into a galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped ‘andys’ – earning enough to buy mechanical animals, since all real animals died long ago
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after they are involved in an explosion on the moon
1969 The Left Hand of Darkness by Ursula Le Guin – an envoy from the Ekumen or federation of advanced planets – Genly Ai – is sent to the planet Gethen to persuade its inhabitants to join the federation, but the focus of the book is a mind-expanding exploration of the hermaphroditism of Gethen’s inhabitants, as Genly is forced to undertake a gruelling trek across the planet’s frozen north with the disgraced native lord, Estraven, during which they develop a cross-species respect and, eventually, a kind of love
1969 Slaughterhouse-Five by Kurt Vonnegut – Vonnegut’s breakthrough novel in which he manages to combine his personal memories of being an American POW of the Germans and witnessing the bombing of Dresden in the character of Billy Pilgrim, with a science fiction farrago about Tralfamadorians who kidnap Billy and transport him through time and space – and introduces the catchphrase ‘so it goes’

1970s
1970 Tau Zero by Poul Anderson – spaceship Leonora Christine leaves earth with a crew of fifty to discover if humans can colonise any of the planets orbiting the star Beta Virginis, but when its deceleration engines are damaged, the crew realise they need to exit the galaxy altogether in order to find space with low enough radiation to fix the engines – and then a series of unfortunate events mean they find themselves forced to accelerate faster and faster, effectively travelling forwards through time as well as space until they witness the end of the entire universe – one of the most thrilling sci-fi books I’ve ever read
1970 The Atrocity Exhibition by J.G. Ballard – Ballard’s best book, a collection of fifteen short experimental texts in stripped-down prose bringing together key obsessions like car crashes, mental breakdown, World War III, media images of atrocities and clinical sex
1971 Vermilion Sands by J.G. Ballard – nine short stories including Ballard’s first, from 1956, most of which follow the same shape, describing the arrival of a mysterious, beguiling woman in the fictional desert resort of Vermilion Sands, the setting for extravagantly surreal tales of the glossy, lurid and bizarre
1971 The Lathe of Heaven by Ursula Le Guin – thirty years in the future (in 2002) America is an overpopulated environmental catastrophe zone where meek and unassuming George Orr discovers that is dreams can alter reality, changing history at will. He comes under the control of visionary neuro-scientist, Dr Haber, who sets about using George’s powers to alter the world for the better with unanticipated and disastrous consequences
1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic, leading to harum scarum escapades in disaster-stricken London
1972 The Word for World Is Forest by Ursula Le Guin – novella set on the planet Athshe describing its brutal colonisation by exploitative Terrans (who call it ‘New Tahiti’) and the resistance of the metre-tall, furry, native population of Athsheans, with their culture of dreamtime and singing
1972 The Fifth Head of Cerberus by Gene Wolfe – a mind-boggling trio of novellas set on a pair of planets 20 light years away, the stories revolve around the puzzle of whether the supposedly human colonists are, in fact, the descendants of the planets’ shape-shifting aboriginal inhabitants who murdered the first earth colonists and took their places so effectively that they have forgotten the fact and think themselves genuinely human
1973 Crash by J.G. Ballard – Ballard’s most ‘controversial’ novel, a searingly intense description of its characters’ obsession with the sexuality of car crashes, wounds and disfigurement
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre-long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it in one of the most haunting and evocative novels of this type ever written
1973 Breakfast of Champions by Kurt Vonnegut – Vonnegut’s longest and most experimental novel with the barest of plots and characters allowing him to sound off about sex, race, America, environmentalism, with the appearance of his alter ego Kilgore Trout and even Vonnegut himself as a character, all enlivened by Vonnegut’s own naive illustrations and the throwaway catchphrase ‘And so on…’
1974 Concrete Island by J.G. Ballard – the short and powerful novella in which an advertising executive crashes his car onto a stretch of wasteland in the juncture of three motorways, finds he can’t get off it, and slowly adapts to life alongside its current, psychologically damaged inhabitants
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?
1974 The Dispossessed by Ursula Le Guin – in the future and 11 light years from earth, the physicist Shevek travels from the barren, communal, anarchist world of Anarres to its consumer capitalist cousin, Urras, with a message of brotherhood and a revolutionary new discovery which will change everything
1974 Inverted World by Christopher Priest – vivid description of a city on a distant planet which must move forwards on railway tracks constructed by the secretive ‘guilds’ in order not to fall behind the mysterious ‘optimum’ and avoid the fate of being obliterated by the planet’s bizarre lateral distorting, a vivid and disturbing narrative right up until the shock revelation of the last few pages
1975 High Rise by J.G. Ballard – an astonishingly intense and brutal vision of how the middle-class occupants of London’s newest and largest luxury, high-rise development spiral down from petty tiffs and jealousies into increasing alcohol-fuelled mayhem, disintegrating into full-blown civil war before regressing to starvation and cannibalism
1976 Slapstick by Kurt Vonnegut – a madly disorientating story about twin freaks, a future dystopia, shrinking Chinese and communication with the afterlife
1979 The Unlimited Dream Company by J.G. Ballard – a strange combination of banality and visionary weirdness as an unhinged young man crashes his stolen plane in suburban Shepperton, and starts performing magical acts like converting the inhabitants into birds, conjuring up exotic foliage, convinced his is on a mission to liberate them
1979 Jailbird by Kurt Vonnegut – the satirical story of Walter F. Starbuck and the RAMJAC Corps run by Mary Kathleen O’Looney, a baglady from Grand Central Station, among other satirical notions including the new that Kilgore Trout, a character who recurs in most of his novels, is one of the pseudonyms of a fellow prison at the gaol where Starbuck serves a two year sentence, one Dr Robert Fender

1980s
1980 Russian Hide and Seek by Kingsley Amis – set in an England of 2035 after a) the oil has run out and b) a left-wing government left NATO and England was promptly invaded by the Russians – ‘the Pacification’, who have settled down to become a ruling class and treat the native English like 19th century serfs
1980 The Venus Hunters by J.G. Ballard – seven very early and often quite cheesy sci-fi short stories, along with a visionary satire on Vietnam (1969), and then two mature stories from the 1970s which show Ballard’s approach sliding into mannerism
1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the ‘Golden Era’ of the genre, basically the 1950s
1981 Hello America by J.G. Ballard – a hundred years from now an environmental catastrophe has turned America into a vast, arid desert, except for west of the Rockies which has become a rainforest of Amazonian opulence, and it is here that a ragtag band of explorers from old Europe discover a psychopath has crowned himself President Manson, has revived an old nuclear power station in order to light up Las Vegas, and plays roulette in Caesar’s Palace to decide which American city to nuke next, made redundant, girlfriend committed suicide) invents a fantasy world, the Dream Archipelago, and how it takes over his ‘real’ life
1982 Myths of the Near Future by J.G. Ballard – ten short stories showing Ballard’s range of subject matter from Second World War China to the rusting gantries of Cape Kennedy
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1984 Neuromancer by William Gibson – Gibson’s stunning debut novel which establishes the ‘Sprawl’ universe, in which burnt-out cyberspace cowboy, Case, is lured by ex-hooker Molly into a mission led by ex-army colonel Armitage to penetrate the secretive corporation, Tessier-Ashpool, at the bidding of the vast and powerful artificial intelligence, Wintermute
1986 Burning Chrome by William Gibson – ten short stories, three or four set in Gibson’s ‘Sprawl’ universe, the others ranging across sci-fi possibilities, from a kind of horror story to one about a failing Russian space station
1986 Count Zero by William Gibson – second in the ‘Sprawl trilogy’
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa
1988 Mona Lisa Overdrive by William Gibson – third of Gibson’s ‘Sprawl’ trilogy in which street-kid Mona is sold by her pimp to crooks who give her plastic surgery to make her look like global simstim star Angie Marshall, who they plan to kidnap but is herself on a quest to find her missing boyfriend, Bobby Newmark, one-time Count Zero; while the daughter of a Japanese gangster who’s sent her to London for safekeeping is abducted by Molly Millions, a lead character in Neuromancer

1990s
1990 The Difference Engine by William Gibson and Bruce Sterling – in an alternative version of history, Charles Babbage’s early computer, instead of being left as a paper theory, was actually built, drastically changing British society, so that by 1855 it is led by a party of industrialists and scientists who use databases and secret police to keep the population suppressedeep the population suppressed

Preface to the French edition of Crash by J.G. Ballard (1974)

The short introduction to the French edition of Crash is so brilliantly insightful that it is worth quoting in its entirety. [I’ve put in the headings for my own reference, to break it up into sections, and to remind me at a glance the development of the argument. And I’ve added footnotes to my comments.]


The fear of nuclear holocaust weirdly combined with the ubiquity of advertising culture have emptied human emotions of any meaning

The marriage of reason and nightmare which has dominated the 20th century has given birth to an ever more ambiguous world. Across the communications landscape move the spectres of sinister technologies and the dreams that money can buy. Thermonuclear weapons systems [1] and soft drink commercials coexist [2] in an overlit realm ruled by advertising and pseudo-events, science and pornography. Over our lives preside the great twin motifs of the 20th century – sex and paranoia. Despite McLuhan’s delight in high-speed information mosaics we are still reminded of Freud’s profound pessimism in Civilization and its Discontents [3]. Voyeurism, self-disgust, the infantile basis of our dreams and longings – these diseases of the psyche have now culminated in the most terrifying casualty of the 20th century: the death of affect. [4]

This demise of feeling and emotion has paved the way for all our most real and tender pleasures – in the excitements of pain and mutilation; in sex as the perfect arena, like a culture bed of sterile pus, for all the veronicas of our own perversions; in our moral freedom to pursue our own psychopathology as a game; and in our apparently limitless powers for conceptualization – what our children have to fear is not the cars on the highways of tomorrow but our own pleasure in calculating the most elegant parameters of their deaths. [5]

Ballard’s defence of science fiction

To document the uneasy pleasures of living within this glaucous paradise have more and more become the role of science fiction. I firmly believe that science fiction, far from being and unimportant minor offshoot, in fact represents the main literary tradition of the 20th century, and certainly its oldest – a tradition of imaginative response to science and technology that runs in an intact line through H.G. Wells, Aldous Huxley, the writers of modern America science fiction, to such present-day innovators as William Burroughs. [6]

The main fact of the 20th century is the concept of the unlimited possibility. This predicate of science and technology enshrines the notion of a moratorium on the past – the irrelevancy and even death of the past – and the limitless alternatives available to the present. What links the first flight of the Wright brothers to the invention of the Pill is the social and sexual philosophy of the ejector seat. Given this immense continent of possibility, few literatures seem to be better equipped to deal with their subject matter than science fiction. No other form of fiction has the vocabulary and images to deal with the present, let alone the future. The dominant characteristic of the modern mainstream novelist its sense of individual isolation; its mood of introspection and alienation, a state of mind assumed to be the hallmark of the 20th century consciousness. Far from it. On the contrary, it seems to me that this is a psychology that belongs entirely to the 19th century, part of a reaction against the massive restraints of bourgeois society, the monolithic character of Victorianism and the tyranny of the paterfamilias, secure in his financial and sexual authority. Apart from its marked retrospective bias and its obsession with the subjective nature of experience, its real subject matter is the rationalization of guilt and estrangement. Its elements are introspection, pessimism and sophistication. Yet if anything befits the 20th century it is optimism, the iconography of mass merchandising, naivety and a guilt free enjoyment of all the mind’s possibilities. [7]

The kind of imagination that now manifests itself in science fiction is not something new. Homer, Shakespeare and Milton all invented new worlds to comment on this one. The split of science fiction into a separate and somewhat disreputable genre is a recent development. It is connected to the near disappearance of dramatic and philosophical poetry and the slow shrinking of the traditional novel as it concerns more and more exclusively with the nuances of human relationships. Among those areas neglected by the traditional novel are, above all, the dynamics of human societies [the traditional novel tends to depict society as static], and man’s place in the universe. However crudely or naively, science fiction at least attempts to place a philosophical and metaphysical frame around the most important events within our lives and consciousness. [8]

Ballard names, defines and explains ‘inner space’

If I make this general defense of science fiction it is, obviously, because my own career as a writer has been involved with it for almost 20 years. From the very start, when I first turned to science fiction, I was convinced that the future was a better key to the present than the past [9]. At the time, however, I was dissatisfied with science fiction’s obsession with its two principal themes – outer space and the far future. As much for emblematic purposes as any theoretical or programmatic ones, I christened the new terrain I wished to explore inner space, that psychological domain [manifest, for example, in surrealist painting] where the inner world of the mind and the outer world of reality meet and fuse.

Primarily I wanted to write a fiction about the present day. To do this in the context of the late 1950s, in a world where the call sign of Sputnik I could be heard on one’s radio like the advance beacon of a new universe, required completely different techniques from those available to the 19th century novelist. In fact, I believe that if it were possible to scrap the whole of existing literature, and be forced to begin again without a any knowledge of the past, all writers would find themselves inevitably producing something very close to science fiction [10]. Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.

Yet, by an ironic paradox, modern science fiction became the first casualty of the changing world it anticipated and helped to create. The future envisaged by the science fiction of the 1940s and 1950s is already our past. Its dominant images, not merely of the first Moon flights and interplanetary voyages, but of our changing social and political relationships in a world governed by technology, now resemble huge pieces of discarded stage scenery [11]. For me, this could be seen most touchingly in the film 2001: A Space Odyssey, which signified the end of the heroic period of modern science fiction – its lovingly imagined panoramas and costumes, its huge set pieces, reminded me of Gone With the Wind, a scientific pageant that became a kind of historical romance in reverse, a sealed world into which the hard light of contemporary reality was never allowed to penetrate.

The death of ‘reality’

Increasingly, our concepts of past, present and future are being forced to revise themselves. Just as the past itself, in social and psychological terms, became a casualty of Hiroshima and the nuclear age [almost by definition a period where we were all forced to think prospectively], so in its turn the future is ceasing to exist, devoured by the all voracious present. We have annexed the future into our own present, as merely one of those manifold alternatives open to us. Options multiply around us, we live in an almost infantile world where any demand, any possibility, whether for lifestyles, travel, sexual roles and identities, can be satisfied instantly [12].

In addition, I think that the balance between fiction and reality has changed significantly in the past decade [1960s]. Increasingly their roles are reversed. We live in a world ruled by fictions of every kind – mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the pre-empting of any free or imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer’s task is to invent the reality. [13]

In the past we have always assumed that the external world around us represented reality, however confusing or uncertain, and that the inner world of our minds, its dreams, hopes, ambitions, represented the realm of fantasy and the imagination. These roles, too, it seems to me, have been reversed. The most prudent and effective method of dealing with the world around us is to assume that it is a complete fiction – conversely, the one node of reality left to us is inside our own heads. Freud’s classic distinction between the latent and manifest content of the dream, between the apparent and the real, now needs to be applied to the external world of so-called reality [3].

The task of the contemporary writer – to be a scientist testing fictional hypotheses

Given these transformations, what is the main task facing the writer? Can he, any longer, make use of the techniques and perspectives of the traditional 19th century novel, with its linear narrative, its measured chronology, its consular characters grandly inhabiting domains within an ample time and space? Is his subject matter the sources of character and personality sunk deep in the past, the unhurried inspection of roots, the examination of the most subtle nuances of social behaviour and personal relationships? Has the writer still the moral authority to invent a self sufficient and self-enclosed world, to preside over his characters like an examiner, knowing all the questions in advance? Can he leave out anything he prefers not to understand, including his own motives, prejudices and psychopathologies? [14]

I feel myself that the writer’s role, his authority and license to act, has changed radically. I feel that, in a sense, the writer knows nothing any longer. He has no moral stance. He offers the reader the contents of his own head, he offers a set of options and imaginative alternatives. His role is that of the scientist, whether on safari or in his laboratory, faced with a completely unknown terrain or subject. All he can do is to devise hypothesis and test them against the facts. [15]

Crash, the novel, is just such a fictional and psychological experiment

Crash! is such a book, an extreme metaphor for an extreme situation, a kit of desperate measures only for use in an extreme crisis.

If I am right, and what I have done over the past years is to rediscover the present for myself, Crash! takes up its position as a cataclysmic novel of the present day in line with my previous novels of world cataclysm set in the near or immediate future – The Drowned World, The Drought and The Crystal World. Crash!, of course, is not concerned with an imaginary disaster, however imminent, but with a pandemic cataclysm institutionalized in all industrial societies that kills hundreds of thousands of people each year and injures millions. Do we see, in the car crash, a sinister portent of a nightmare marriage between sex and technology? Will modern technology provide us with a hitherto undreamed-of means for tapping our own psychopathologies? Is this harnessing of our innate perversity conceivably of benefit to us? Is there some deviant logic unfolding more powerful that that of reason? [16]

The nature of pornography i.e. ‘the most political form of fiction’

Throughout Crash! I have used the car not only as a sexual image, but as a total metaphor for man’s life in today’s society. As such the novel has a political role quite apart from its sexual content, but I would like still to think that Crash! is the first pornographic novel based on technology. In a sense, pornography is the most political form of fiction, dealing with how we use and exploit each other in the most urgent and ruthless way [17]. Needless to say, the ultimate role of Crash! is cautionary, a warning against that brutal, erotic realm that beckons more and more persuasively to us from the margins of technological landscapes.


My thoughts

1. The possibility of nuclear war and utter extermination which hung over Ballard and his generation from 1945 to 1990 has now more or less vanished, but dominated the imaginations of the sensitive for decades. The Americans lovingly filmed their nuclear tests throughout the 1950s and there’s something mesmerising, haunting and beautiful about the footage – the entranced mind only slowly registering the appalling destructive power embodied in those shapely mushroom clouds. Stanley Kubrick’s film Dr Strangelove captures the mad attractiveness of nuclear armageddon with its closing montage of nuclear test footage. And the intense psychic power of the abandoned nuclear test sites haunt Ballard stories, notably classic story The Terminal Beach, and haunt the predecessor to this book, The Atrocity Exhibition.

2. The juxtaposition of the very real possibility of the end of the world and the human race with a world of glossy, day-glo soft drinks ads and the ‘honey-I’m-home’ frivolities of FMCG advertising is a) Surreal without even trying to be, and b) patently absurd. It creates an absurdist mental landscape in which absurd thoughts flourish and absurdist works of art naturally arise. Ballard is situated bang in the middle of the absurd junctures of modern life.

3. It’s always worth remembering how literally and simplistically Ballard read Freud, he makes no reference to the super-subtle French interpretations of psychoanalysis e.g. by Jacques Lacan – although even a simplistic reading of Freud is bewildering enough, suggesting that all our ‘adult’ rationality and manners is built up on the most infantile, primitive foundation.

4. The death of affect i.e. of real emotion, is the basis given by the character Dr Nathan in The Atrocity Exhibition for the extreme pornography created by the book’s central character: he is trying to break through the husk of a sexuality which has become nullified by commercial exploitation, in search of extremes of sexual practice which once again mean something.

5. The death of vanilla sex leads to the diversion of the same primitive Freudian urge to new sources of excitement: violence and death.

6. It is ironic that Ballard is defending the tradition of science fiction at more or less the moment he abandons it to write novels about the present – an extreme fetishised vision of the present – but dispensing with every identifying characteristic of science fiction to become, simply, fiction, albeit of an extreme and pornographic flavour.

7. The notion that pessimism in fiction is an archetypal Victorian sentiment, and that the dominant mode of 20th century fiction ought to be optimism at the unlimited technical opportunities lying around us is bracingly counter-intuitive and attractive.

8. I take the point that much science fiction, even the shortest of short stories, tends to imply a worldview, a particular vision of the future, ideas about society, which plain fiction rarely does. The problem with this idea is that these ‘philosophical and metaphysical frames’ is that they are so often cheap, sensational, alarmist, comic-book cartoon ideas about society or human nature which no grown-up can take seriously.

9. ‘The future is a better key to the present than the past’ is a profound idea, if somewhat difficult to put into practice. But it’s certainly true that so many politicians, commentators and writers are stuck in the same old treadmill version of well-worn clichéd versions of the past (commemorating the Great War, commemorating the Holocaust and so on) which are a drag on human progress, which are always pulling us back back back, and prevent us from taking a long, hard look at the future.

10. Enchanting idea, thought experiment.

11. True dat. The most obvious thing about science fiction, hard science fiction dependent on technology, is how quickly it dates.

12. Surprisingly true of the Western world in 2020, with its obsession with gender, transgender and gender fluid identities.

13. Brilliantly witty and paradoxical conclusion, worthy of Wilde.

14. An impressive summary of the characteristics of grand, expansive, realist 19th century fiction?

15. A dazzlingly persuasive redefinition of the role of the writer, underpinned by Ballard’s familiarity with the scientific worldview derived from the science journals he worked on.

16. Like any good teacher, Ballard is prolific in plausible-sounding questions to stimulate thought/debate.

17. An unsettling idea. Discuss. Enjoyable to ponder for a while… Can this be true or is it just a glib formulation?


Related links

Reviews of other Ballard books

Novels

Short story collections

Other science fiction reviews

Late Victorian
1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1900s
1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1910s
1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1920s
1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, where they discover…

1930s
1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years – surely the most sweeping vista of any science fiction book
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Oxford academic Ransom and take him in their spherical spaceship to Malacandra, as the natives call the planet Mars

1940s
1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950s
1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the  Foundation Trilogy, which describes the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence, powered by ‘spindizzy’ technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them until one fireman, Guy Montag, rebels
1953 The Demolished Man by Alfred Bester – a breathless novel set in a 24th century New York populated by telepaths and describing the mental collapse of corporate mogul Ben Reich who starts by murdering his rival Craye D’Courtney and becomes progressively more psychotic as he is pursued by telepathic detective, Lincoln Powell
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
Some problems with Isaac Asimov’s science fiction
1956 They Shall Have Stars by James Blish – explains the invention, in the near future, of i) the anti-death drugs and ii) the spindizzy technology which allow the human race to colonise the galaxy
1956 The Stars My Destination by Alfred Bester – a fast-paced phantasmagoria set in the 25th century where humans can teleport, a terrifying new weapon has been invented, and tattooed hard-man, Gulliver Foyle, is looking for revenge
1959 The Triumph of Time by James Blish – concluding novel of Blish’s ‘Okie’ tetralogy in which mayor of New York John Amalfi and his friends are present at the end of the universe
1959 The Sirens of Titan by Kurt Vonnegut – Winston Niles Rumfoord builds a space ship to explore the solar system where encounters a chrono-synclastic infundibula, and this is just the start of a bizarre meandering fantasy which includes the Army of Mars attacking earth and the adventures of Boaz and Unk in the caverns of Mercury

1960s
1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 The Drowned World by J.G. Ballard – Dr Kerans is part of a UN mission to map the lost cities of Europe which have been inundated after solar flares melted the worlds ice caps and glaciers, but finds himself and his colleagues’ minds slowly infiltrated by prehistoric memories of the last time the world was like this, complete with tropical forest and giant lizards, and slowly losing their grasp on reality.
1962 The Voices of Time and Other Stories – Eight of Ballard’s most exquisite stories including the title tale about humanity slowly falling asleep even as they discover how to listen to the voices of time radiating from the mountains and distant stars, or The Cage of Sand where a handful of outcasts hide out in the vast dunes of Martian sand brought to earth as ballast which turned out to contain fatal viruses. Really weird and visionary.
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard space-travelling New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1962 Mother Night by Kurt Vonnegut – the memoirs of American Howard W. Campbell Jr. who was raised in Germany and has adventures with Nazis and spies
1963 Cat’s Cradle by Kurt Vonnegut – what starts out as an amiable picaresque as the narrator, John, tracks down the so-called ‘father of the atom bomb’, Felix Hoenniker for an interview turns into a really bleak, haunting nightmare where an alternative form of water, ice-nine, freezes all water in the world, including the water inside people, killing almost everyone and freezing all water forever
1964 The Drought by J.G. Ballard – It stops raining. Everywhere. Fresh water runs out. Society breaks down and people move en masse to the seaside, where fighting breaks out to get near the water and set up stills. In part two, ten years later, the last remnants of humanity scrape a living on the vast salt flats which rim the continents, until the male protagonist decides to venture back inland to see if any life survives
1964 The Terminal Beach by J.G. Ballard – Ballard’s breakthrough collection of 12 short stories which, among more traditional fare, includes mind-blowing descriptions of obsession, hallucination and mental decay set in the present day but exploring what he famously defined as ‘inner space’
1964 Dr. Strangelove, or, How I Learned to Stop Worrying and Love the Bomb by Peter George – a novelisation of the famous Kubrick film, notable for the prologue written as if by aliens who arrive in the distant future to find an earth utterly destroyed by the events described in the main narrative
1966 Rocannon’s World by Ursula Le Guin – Le Guin’s first novel, a ‘planetary romance’ or ‘science fantasy’ set on Fomalhaut II where ethnographer and ‘starlord’ Gaverel Rocannon rides winged tigers and meets all manner of bizarre foes in his quest to track down the aliens who destroyed his spaceship and killed his colleagues, aided by sword-wielding Lord Mogien and a telepathic Fian
1966 Planet of Exile by Ursula Le Guin – both the ‘farborn’ colonists of planet Werel, and the surrounding tribespeople, the Tevarans, must unite to fight off the marauding Gaal who are migrating south as the planet enters its deep long winter – not a good moment for the farborn leader, Jakob Agat Alterra, to fall in love with Rolery, the beautiful, golden-eyed daughter of the Tevaran chief
1966 – The Crystal World by J.G. Ballard – Dr Sanders journeys up an African river to discover that the jungle is slowly turning into crystals, as does anyone who loiters too long, and becomes enmeshed in the personal psychodramas of a cast of lunatics and obsessives
1967 The Disaster Area by J.G. Ballard – Nine short stories including memorable ones about giant birds, an the man who sees the prehistoric ocean washing over his quite suburb.
1967 City of Illusions by Ursula Le Guin – an unnamed humanoid with yellow cat’s eyes stumbles out of the great Eastern Forest which covers America thousands of years in the future when the human race has been reduced to a pitiful handful of suspicious rednecks or savages living in remote settlements. He is discovered and nursed back to health by a relatively benign commune but then decides he must make his way West in an epic trek across the continent to the fabled city of Es Toch where he will discover his true identity and mankind’s true history
1966 The Anti-Death League by Kingsley Amis
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into a galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped ‘andys’ – earning enough to buy mechanical animals, since all real animals died long ago
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after they are involved in an explosion on the moon
1969 The Left Hand of Darkness by Ursula Le Guin – an envoy from the Ekumen or federation of advanced planets – Genly Ai – is sent to the planet Gethen to persuade its inhabitants to join the federation, but the focus of the book is a mind-expanding exploration of the hermaphroditism of Gethen’s inhabitants, as Genly is forced to undertake a gruelling trek across the planet’s frozen north with the disgraced native lord, Estraven, during which they develop a cross-species respect and, eventually, a kind of love
1969 Slaughterhouse-Five by Kurt Vonnegut – Vonnegut’s breakthrough novel in which he manages to combine his personal memories of being an American POW of the Germans and witnessing the bombing of Dresden in the character of Billy Pilgrim, with a science fiction farrago about Tralfamadorians who kidnap Billy and transport him through time and space – and introduces the catchphrase ‘so it goes’

1970s
1970 Tau Zero by Poul Anderson – spaceship Leonora Christine leaves earth with a crew of fifty to discover if humans can colonise any of the planets orbiting the star Beta Virginis, but when its deceleration engines are damaged, the crew realise they need to exit the galaxy altogether in order to find space with low enough radiation to fix the engines – and then a series of unfortunate events mean they find themselves forced to accelerate faster and faster, effectively travelling forwards through time as well as space until they witness the end of the entire universe – one of the most thrilling sci-fi books I’ve ever read
1970 The Atrocity Exhibition by J.G. Ballard – Ballard’s best book, a collection of fifteen short experimental texts in stripped-down prose bringing together key obsessions like car crashes, mental breakdown, World War III, media images of atrocities and clinical sex
1971 Vermilion Sands by J.G. Ballard – nine short stories including Ballard’s first, from 1956, most of which follow the same shape, describing the arrival of a mysterious, beguiling woman in the fictional desert resort of Vermilion Sands, the setting for extravagantly surreal tales of the glossy, lurid and bizarre
1971 The Lathe of Heaven by Ursula Le Guin – thirty years in the future (in 2002) America is an overpopulated environmental catastrophe zone where meek and unassuming George Orr discovers that is dreams can alter reality, changing history at will. He comes under the control of visionary neuro-scientist, Dr Haber, who sets about using George’s powers to alter the world for the better with unanticipated and disastrous consequences
1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic, leading to harum scarum escapades in disaster-stricken London
1972 The Word for World Is Forest by Ursula Le Guin – novella set on the planet Athshe describing its brutal colonisation by exploitative Terrans (who call it ‘New Tahiti’) and the resistance of the metre-tall, furry, native population of Athsheans, with their culture of dreamtime and singing
1972 The Fifth Head of Cerberus by Gene Wolfe – a mind-boggling trio of novellas set on a pair of planets 20 light years away, the stories revolve around the puzzle of whether the supposedly human colonists are, in fact, the descendants of the planets’ shape-shifting aboriginal inhabitants who murdered the first earth colonists and took their places so effectively that they have forgotten the fact and think themselves genuinely human
1973 Crash by J.G. Ballard – Ballard’s most ‘controversial’ novel, a searingly intense description of its characters’ obsession with the sexuality of car crashes, wounds and disfigurement
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre-long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it in one of the most haunting and evocative novels of this type ever written
1973 Breakfast of Champions by Kurt Vonnegut – Vonnegut’s longest and most experimental novel with the barest of plots and characters allowing him to sound off about sex, race, America, environmentalism, with the appearance of his alter ego Kilgore Trout and even Vonnegut himself as a character, all enlivened by Vonnegut’s own naive illustrations and the throwaway catchphrase ‘And so on…’
1974 Concrete Island by J.G. Ballard – the short and powerful novella in which an advertising executive crashes his car onto a stretch of wasteland in the juncture of three motorways, finds he can’t get off it, and slowly adapts to life alongside its current, psychologically damaged inhabitants
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?
1974 The Dispossessed by Ursula Le Guin – in the future and 11 light years from earth, the physicist Shevek travels from the barren, communal, anarchist world of Anarres to its consumer capitalist cousin, Urras, with a message of brotherhood and a revolutionary new discovery which will change everything
1974 Inverted World by Christopher Priest – vivid description of a city on a distant planet which must move forwards on railway tracks constructed by the secretive ‘guilds’ in order not to fall behind the mysterious ‘optimum’ and avoid the fate of being obliterated by the planet’s bizarre lateral distorting, a vivid and disturbing narrative right up until the shock revelation of the last few pages
1975 High Rise by J.G. Ballard – an astonishingly intense and brutal vision of how the middle-class occupants of London’s newest and largest luxury, high-rise development spiral down from petty tiffs and jealousies into increasing alcohol-fuelled mayhem, disintegrating into full-blown civil war before regressing to starvation and cannibalism
1976 Slapstick by Kurt Vonnegut – a madly disorientating story about twin freaks, a future dystopia, shrinking Chinese and communication with the afterlife
1979 The Unlimited Dream Company by J.G. Ballard – a strange combination of banality and visionary weirdness as an unhinged young man crashes his stolen plane in suburban Shepperton, and starts performing magical acts like converting the inhabitants into birds, conjuring up exotic foliage, convinced his is on a mission to liberate them
1979 Jailbird by Kurt Vonnegut – the satirical story of Walter F. Starbuck and the RAMJAC Corps run by Mary Kathleen O’Looney, a baglady from Grand Central Station, among other satirical notions including the new that Kilgore Trout, a character who recurs in most of his novels, is one of the pseudonyms of a fellow prison at the gaol where Starbuck serves a two year sentence, one Dr Robert Fender

1980s
1980 Russian Hide and Seek by Kingsley Amis – set in an England of 2035 after a) the oil has run out and b) a left-wing government left NATO and England was promptly invaded by the Russians – ‘the Pacification’, who have settled down to become a ruling class and treat the native English like 19th century serfs
1980 The Venus Hunters by J.G. Ballard – seven very early and often quite cheesy sci-fi short stories, along with a visionary satire on Vietnam (1969), and then two mature stories from the 1970s which show Ballard’s approach sliding into mannerism
1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the ‘Golden Era’ of the genre, basically the 1950s
1981 Hello America by J.G. Ballard – a hundred years from now an environmental catastrophe has turned America into a vast, arid desert, except for west of the Rockies which has become a rainforest of Amazonian opulence, and it is here that a ragtag band of explorers from old Europe discover a psychopath has crowned himself President Manson, has revived an old nuclear power station in order to light up Las Vegas, and plays roulette in Caesar’s Palace to decide which American city to nuke next
1981 The Affirmation by Christopher Priest – an extraordinarily vivid description of a schizophrenic young man living in London who, to protect against the trauma of his actual life (father died, made redundant, girlfriend committed suicide) invents a fantasy world, the Dream Archipelago, and how it takes over his ‘real’ life
1982 Myths of the Near Future by J.G. Ballard – ten short stories showing Ballard’s range of subject matter from Second World War China to the rusting gantries of Cape Kennedy
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1984 Neuromancer by William Gibson – Gibson’s stunning debut novel which establishes the ‘Sprawl’ universe, in which burnt-out cyberspace cowboy, Case, is lured by ex-hooker Molly into a mission led by ex-army colonel Armitage to penetrate the secretive corporation, Tessier-Ashpool, at the bidding of the vast and powerful artificial intelligence, Wintermute
1986 Burning Chrome by William Gibson – ten short stories, three or four set in Gibson’s ‘Sprawl’ universe, the others ranging across sci-fi possibilities, from a kind of horror story to one about a failing Russian space station
1986 Count Zero by William Gibson – second in the ‘Sprawl trilogy’
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa
1988 Mona Lisa Overdrive by William Gibson – third of Gibson’s ‘Sprawl’ trilogy in which street-kid Mona is sold by her pimp to crooks who give her plastic surgery to make her look like global simstim star Angie Marshall, who they plan to kidnap but is herself on a quest to find her missing boyfriend, Bobby Newmark, one-time Count Zero; while the daughter of a Japanese gangster who’s sent her to London for safekeeping is abducted by Molly Millions, a lead character in Neuromancer

1990s
1990 The Difference Engine by William Gibson and Bruce Sterling – in an alternative version of history, Charles Babbage’s early computer, instead of being left as a paper theory, was actually built, drastically changing British society, so that by 1855 it is led by a party of industrialists and scientists who use databases and secret police to keep the population suppressed databases and secret police to keep the population suppressed

The Atrocity Exhibition by J.G. Ballard (1970)

WARNING: This review contains quotations which are extremely brutal and/or sexually explicit.

Fingers fretting at the key in her pocket, she watched Travers search through the montage photographs which the volunteers had assembled during anaesthesia. Disquieting diorama of pain and mutilation: strange sexual wounds, imaginary Vietnam atrocities, the deformed mouth of Jacqueline Kennedy. (p.68)

The fact that American edition of the book was titled Love and Napalm gives you fair warning of what to expect.

The Atrocity Exhibition is only a short book, 110 pages in the Granada paperback edition I’ve got, and yet it opens up wide, jagged horizons and makes a tremendous impact because of its format.

The human organism is an atrocity exhibition at which he is an unwilling spectator. (p.13)

Experiments and collage

Ballard was keenly interested in experimental fiction and art, an interest which reached its peak in the late-1960s. As early as the late 1950s he’d created a series of collages assembled from texts cut out of scientific magazines. In 1967 he began a series of what came to be called ‘Advertiser’s Announcements’, being surreal or collagist parodies of traditional adverts. And we know that Ballard originally wanted The Atrocity Exhibition to be a book of collage illustrations.

I originally wanted a large-format book, printed by photo-offset, in which I would produce the artwork – a lot of collages, material taken from medical documents and medical photographs, crashing cars and all that sort of iconography.

In the event this proved impractical and Ballard ended up creating a kind of verbal equivalent of collage from a sequence of stand-alone prose pieces. These were originally published as stand-alone ‘stories’ in various art and sci fi magazines.

The final text of The Atrocity Exhibition is divided into 15 of these pieces or stories or texts, and then each of these is sub-divided into very short sections, often only a paragraph long. Each paragraph has a title of its own, in bold. The result is to make the book a highly fragmented read and certainly not a ‘novel’ with a consistent linear narrative in any traditional sense. Here’s a typical paragraph, or fragment, or angle.

Auto-erotic. As he rested in Catherine Austin’s bedroom, Talbot listened to the helicopters flying along the motorway from the airport. Symbols in a machine apocalypse, they seeded the cores of unknown memories in the furniture of the apartment, the gestures of unspoken affections. He lowered his eyes from the window. Catherine Austin sat on the bed beside him. Her naked body was held forward like a bizarre exhibit, its anatomy a junction of sterile cleft and flaccid mons. He placed his palm against the mud-coloured areola of her left nipple. The concrete landscape of underpass and overpass mediated a more real presence, the geometry of a neural interval, the identity latent within his own musculature.

1. You immediately see the intense but detached pornography of the female body, which never uses swearwords but refers to intercourse and all aspects of sexuality by their strict scientific names, ‘sterile cleft and flaccid mons’.

2. And you immediately see how the sex is intimately and intricately interwoven with equally precise descriptions of architecture and modern transport machines – helicopters flying over the motorway from the airport, a concrete landscape of overpasses and underpasses.

3. And beneath it all, initially obscured by the novelty of the clinical sexuality and the obsessed concrete-mania, lies the characteristic Ballard exorbitance, the Edgar Allen Poe hysteria ‘mediated’, as he would put it, through the detachment of the science journalist, summarising his perceptions as ‘symbols in a machine apocalypse’.

And yet there is no apocalypse. A few cars crash, one helicopter crashes and burns (I think), but there’s nothing like an ‘apocalypse’. The apocalypse – the extremity of all the situations – is all in the mind – of the cipher-characters and, ultimately, of Ballard himself.

The chapters of The Atrocity Exhibition

Here’s a list of the fifteen ‘chapters’/stories and the magazines they were first published in, and dates of first publication. You can see how the composition of the pieces stretched over three years from spring 1966 to late 1969 i.e. was a relatively slow and scattered process.

  1. The Atrocity Exhibition (New Worlds, Vol. 50, # 166, September 1966, excerpt)
  2. The University of Death (Transatlantic Review, No. 29, London, Summer 1968)
  3. The Assassination Weapon (New Worlds, Vol. 50, # 161, April 1966)
  4. You: Coma: Marilyn Monroe (Ambit # 27, Spring 1966)
  5. Notes Towards a Mental Breakdown (New Worlds July 1967, excerpt)
  6. The Great American Nude (Ambit # 36 Summer 1968)
  7. The Summer Cannibals (New Worlds # 186 January 1969)
  8. Tolerances of the Human Face (Encounter Vol. 33, No. 3, September 1969)
  9. You and Me and the Continuum (Impulse, Vol. 1, No. 1, March 1966) FIRST
  10. Plan for the Assassination of Jacqueline Kennedy (Ambit # 31, Spring 1967 [the 26 paragraph titles are in alphabetical order])
  11. Love and Napalm (Export USA Circuit #6, June 1968)
  12. Crash! (ICA-Eventsheet February 1969, excerpt) LAST
  13. The Generations of America (New Worlds # 183, October 1968)
  14. Why I Want to Fuck Ronald Reagan (Brighton: Unicorn Bookshop, 1968)
  15. The Assassination of John Fitzgerald Kennedy Considered as a Downhill Motor Race (Ambit # 29, Autumn 1966)

Condensed novels

In one interview Ballard described the chapters or stories as each forming an individual, ‘condensed’ novel.

They’re certainly condensed in the sense that, as you read them, it feels as if lots of the action and description and linking passages which would create an ordinary ‘story’ have been surgically removed. Instead the paragraphs jump between isolated moments or scenes, between characters, between settings, so that it’s often difficult to see how they’re at all related, apart from featuring the same names. I’m not sure I really followed the ‘narrative’ of any of them.

And the prose style is just as ‘condensed’. Although it’s only 110 pages long, The Atrocity Exhibition is a chewy read because every single sentence feels packed with meaning and significance. There’s no filler or run-of-the-mill description or dialogue. It makes you realise how slack the texture of most normal novels is.

The Geometry of Her Face. In the perspectives of the plaza, the junctions of the underpass and embankment, Talbot at last recognized a modulus that could be multiplied into the landscape of his consciousness. The descending triangle of the plaza was repeated in the facial geometry of the young woman. The diagram of her bones formed a key to his own postures and musculature, and to the scenario that had preoccupied him at the Institute. He began to prepare for departure. The pilot and the young woman now deferred to him. The fans of the helicopter turned in the dark air, casting elongated ciphers on the dying concrete.

Threads and themes

So the book consists of fifteen short (7, 8 or 9 page) sections, themselves sharply cut up into 20 or 30 fragments or perspectives which superficially justifies the term ‘condensed novels’.

But actually, the term is quite misleading because the sections are not as free-standing as it implies. In fact there are clear, indeed dominating, threads, themes, images and ideas which link almost all the chapters and make the assembly of the texts together much bigger than just the sum of a bunch of disparate parts.

For a start the same ‘characters’ recur in almost all of them – Dr Nathan the psychiatrist, Catherine Austen a mature love object and Karen Novotnik, a younger woman.

The first three or four sections all feature a central male protagonist who leads the action and the other characters comment on although, in an approach which I enjoyed, this character’s name changes from chapter to chapter – from Travis to Talbot to Tallis and so on – and in each incarnation he’s not quite the same person, as if reality shifts subtly in each story, or as if each avatar each one represents an alternative possible reality. This would explain why the young woman Karen Novotnik appears to die not once but several times, each time in a different scenario.

Celebration. For Talbot the explosive collision of the two cars was a celebration of the unity of their soft geometries, the unique creation of the pudenda of Ralph Nader. The dismembered bodies of Karen Novotny and himself moved across the morning landscape, re-created in a hundred crashing cars, in the perspectives of a thousand concrete embankments, in the sexual postures of a million lovers.

As well as these recurring names, the texts are held together by their obsessive circling round the same handful of images, ideas and names. In fact, the way that the central male figure keeps reappearing under different names made me realise that without much difficulty you could say that the characters aren’t carrying the plot, the obsessions are.

So that the book can really be seen as about the circulation, meeting, mingling, parting and interaction of certain obsessive ideas, images and phrases. It’s as if the obsessions are the real, rounded, multi-dimensional entities, the ones we get to know in detail, who feature in various adventures and permutations, while the so-called human ‘characters’ are just vectors or mediums through which the idées fixes are channelled.

Over and over, the same images, situations, ideas and phrases recur with a claustrophobic, obsessive repetition. Dominant are images of death, war, car crashes, apocalypse. They include:

  • World War III
  • the atom bomb and atomic test sites
  • cars and car crashes and the wounds car crashes create in soft human bodies
  • helicopters flying ominously overhead, Vietnam-style
  • utterly impersonal sexual congress conceived as a form of geometric investigation
  • images over-familiar film stars such as Elizabeth Taylor or Brigitte Bardot
  • newsreel footage of war atrocities, from Auschwitz to Vietnam via Biafra and the Congo
  • the Kennedy assassination (one character is described as obsessively trying to recreate the Kennedy assassination ‘in a way that makes sense’)
  • concrete motorways and multi-storey car parks

Each chapter contains a specific mix of these ingredients, but the same overall list of ingredients recurs across all 15, rotating in ever-changing combinations like a kaleidoscope.

Chapter one – The Atrocity Exhibition

Thus chapter one features characters named Travis, his wife Margaret Travis, Catherine Austen who he’s having an affair with, his psychiatrist Dr Nathan who is analysing Travis’s obsession with creating a kind of one-man, psychological World War III, and Captain Webster who is having an affair with Margaret.

Travis is collecting ‘terminal documents’ (just like Kaldren in the short story The Voices of Time). Travis dreams of starting World War III, if only in his head (‘For us, perhaps, World War III is now little more than a sinister pop art display…’). These terminal documents appear pleasingly random and in a note Ballard tells us they were the result of free association:

  1. A spectrohelion of the sun
  2. front elevation of balcony units, Hilton Hotel, London
  3. transverse section through a pre-Cambrian trilobite
  4. ‘chronograms’ by E.J. Marey
  5. photograph taken at noon 7 August 1945 in the Qattara Depression Egypt
  6. a reproduction of Max Ernst’s Garden Airplane Traps
  7. fusing sequences for ‘Little Boy’ and ‘Fat Boy’, the Hiroshima and Nagasaki atom bombs

They’re actually quite a good cross-section of JG’s obsessions: the atom bomb, the alienating effect of modernist architecture, deep geological time (which Ballard had painted as returning to dominate the modern world with its dinosaurs and tropical swamps in The Drowned World or the short story Now Awakes The Sea), a Surrealist painting, the obsession with time indicated by the fictional ‘chronographs’.

And hotels, hotels are classic locations for alienation and ennui for Ballard, if they’re abandoned in one of his dystopian futures, surrounded by drained swimming pools, all the better.

So far, so sort-of reasonable, after all characters and themes occur in all novels. But it’s difficult to convey the chaotic and deliberately dissociative texture of the book.

Brachycephalic. They stopped beneath the half-painted bowl of the radio-telescope. As the blunt metal ear turned on its tracks, fumbling at the sky, he put his hands to his skull, feeling the still-open sutures. Beside him Quinton, the dapper pomaded Judas, was waving at the distant hedges where the three limousines were waiting. ‘If you like we can have a hundred cars – a complete motorcade.’ Ignoring Quinton, he took a piece of quartz from his flying jacket and laid it on the surf. From it poured the code-music of the quasars.

There is no joined-up, consecutive narrative. Each paragraph is genuinely a fragment in the sense that they don’t cohere into any kind of ‘story’. Instead they are snapshots of the characters’ obsessions. Certainly the ‘people’ in the stories meet, encounter each other, have sex, drive cars because we see this in individual paragraphs. But each consecutive paragraph charts a new scene. They are like fragments from a lot of different jigsaws all jumbled together.

At the end of ‘chapter’ one the bodies of Dr Nathan, Captain Webster and Catherine Austen form a small tableau by the bunker. Maybe they were killed in bombing of the target zone in the disused military zone which Travis seems to have organised.

But the second ‘chapter’ begins with these same ‘dead’ characters – Dr Nathan, Catherine Austen – brought back to life, in new scenes as if nothing had happened. Now they are taking part in a screenshow in a university organised by one ‘Talbot'( a sort of structural variation on Travis) and whose students are ostensibly studying World War III, inspired by the jealous student Koester. Talbot is having an affair with Catherine but sees her body chiefly as a ‘geometry’ of vents and clefts and is more interested in the sculpture he’s building on the roof, metal aerials constructed to hold glass faces to the sun. He is clearly cracking up.

And so it continues, tangling and rethreading a narrow and obsessive networks of themes and images…

Key words

If certain key ideas recur and repeat in endless permutations, so do key words. As so often, I find the words more interesting than the ‘ideas’:

geometry

  • her own body, with its endless familiar geometry…
  • in the postures they assumed, the contours of thigh and thorax, Travis explored the geometry and volumetric time of the bedroom
  • only an anatomist could have identified these fragments, each represented as a formal geometric pattern
  • his wife’s body with its familiar geometry
  • His room was filled with grotesque magazine photographs: the obsessive geometry of overpasses, like fragments of her own body; X-rays of unborn children; a series of genital deformations; a hundred close-ups of hands.
  • the concrete landscape of underpass and flyover mediated a more real presence, the geometry of a neural interval…
  • the obsessive geometry of flyovers, like fragments of her own body
  • the geometry of the plaza exercised a unique fascination upon Talbot’s mind
  • a crushed fender; in its broken geometry Talbot saw the dismembered body of Karen Novotny
  • the danger of an assassination attempt seems evident, one hypotenuse in this geometry of a murder
  • For Talbot the explosive collision of the two cars was a celebration of the unity of their soft geometries…

mimetised

  • he assumed the postures of the fragmented body of the film actress, mimetising his past dreams and anxieties in the dune-like fragments of her body
  • the mimetised disasters of Vietnam and the Congo
  • segments of his postures mimetised in the processes of time and space
  • our anxieties mimetised in the junction between wall and ceiling

terminal

  • A Terminal Posture. Lying on the worn concrete of the gunnery aisles, he assumed the postures of the film actress, assuaging his past dreams and anxieties in the dune-like fragments of her
    body.
  • Dr Nathan gazed at the display photographs of terminal syphilitics in the cinema foyer
  • He remembered the aloof, cerebral Kline, and their long discussions on this terminal concrete beach…
  • The Terminal Zone. He lay on the sand with the rusty bicycle wheel. Now and then he would cover some of the spokes with sand, neutralizing the radial geometry. The rim interested him. Hidden behind a dune, the hut no longer seemed a part of his world. The sky remained constant, the warm air touching the shreds of test papers sticking up from the sand. He continued to examine the wheel. Nothing happened.

neural

  • Overhead the glass curtain-walls of the apartment block presided over this first interval of neural calm.
  • The concrete landscape of underpass and overpass mediated a more real presence, the geometry of a neural interval, the identity latent within his own musculature.
  • Impressions of Africa. A low shoreline; air glazed like amber; derricks and jetties above brown water; the silver geometry of a petrochemical complex, a Vorticist assemblage of cylinders and cubes superimposed upon the distant plateau of mountains; a single Horton sphere – enigmatic balloon tethered to the fused sand by its steel cradles; the unique clarity of the African light: fluted tablelands and jigsaw bastions; the limitless neural geometry of the landscape.

planes

  • For some reason the planes of his face failed to intersect, as if their true resolution took place in some as yet invisible dimension, or required elements other than those provided by his own character and musculature.
  • The planes of their lives interlocked at oblique angles, fragments of personal myths fusing with the commercial cosmologies.
  • Her blanched skin revealed the hollow planes of her face.
  • His rigid face was held six inches from her own, his mouth like the pecking orifice of some unpleasant machine. The planes of his cheekbones and temples intersected with the slabs of rainwashed cement, together forming a strange sexual modulus.
  • The planes of her face seemed to lead towards some invisible focus, projecting an image that lingered on the walls, as if they were inhabiting her skull
  • The apartment was a box clock, a cubicular extrapolation of the facial planes of the yantra, the cheekbones of Marilyn Monroe.

This sketchy review of his key vocabulary establishes that what Ballard’s key words have in common is the way they are hard and technical, continually shifting the imagination away from soft human bodies to hard geometries, from sentimental ‘feelings’ towards impersonal, scientific and mathematical notions of ‘neural’ events, planes and geometries.

Art

Ballard made no secret of the immense influence on him of Surrealist painting. He mentions it in pretty much every interview he ever gave, lards his stories with the adjective ‘surrealist’, and frequently refers to specific Surrealist paintings. The Atrocity Exhibition contains references to the following works of art:

  • Max Ernst – Garden Airplane Traps
  • Max Ernst – Europe after the Rain (p.15)
  • Salvador Dali – Hypercubic Christ
  • Max Ernst – Silence (p.21)
  • Salvador Dali – The Persistence of Memory (p.22)
  • Magritte – The Annunciation (p.31)
  • Duchamp – The Bride Stripped Bare By Her Bachelors, Even
  • Max Ernst, The Stolen Mirror (p.47)
  • Bellmer sculptures (p.54)
  • Duchamp – Nude descending a Staircase (p.55)
  • Tanguy – Jours de Lenteur (p.85)
  • Max Ernst – the Robing of the Bride (p.85)
  • de Chirico – The Dream of the Poet (p.85)

The art references tend to occur in contexts where they add, expand and complicate existing descriptions.

The ‘Soft’ Death of Marilyn Monroe. Standing in front of him as she dressed, Karen Novotny’s body seemed as smooth and annealed as those frozen planes. Yet a displacement of time would drain away the soft interstices, leaving walls like scraped clinkers. He remembered Ernst’s ‘Robing’: Marilyn’s pitted skin, breasts of carved pumice, volcanic thighs, a face of ash. The widowed bride of Vesuvius.

On reflection, I realise that you could see each of the individual paragraphs as the equivalent of free-standing paintings. That makes a lot of sense. Treating each paragraph as a painting treating a different mood, or angle, or perspective on similar events, covering similar subjects, but each from a different angle and approach – and yourself sauntering past them as they’re hung up on a gallery wall.

Sex and pornography

The text is soaked in sex and sexual perversions and pornography regarded as a clinically detached exercise.

This is justified, if needs be, by Ballard’s view that we are in a hyper-advanced technological society where all experience is mediated by a bombardment of media and advertising imagery to such an extent that naive notions of simple sentimental sex have been scorched out of existence.

The need for more polymorphic roles has been demonstrated by television and news media. Sexual intercourse can no longer be regarded as a personal and isolated activity, but is seen to be a vector in a public complex involving automobile styling, politics and mass communications

The satirical surveys

With a satire which is so straight-faced it’s hard to tell whether he’s laughing or not, the later chapters of The Atrocity Exhibition are notably different from the earlier ones.

They are still laid out as fragmented paragraphs but they more or less cease being (fragmented) narratives and consist of collections of pseudo-scientific surveys and reports.

And these focus relentlessly, obsessively on the conjunction of atrocity and sex, specifically the impact of viewing a) President Kennedy’s assassination b) Vietnam war footage c) general atrocity footage (Auschwitz, the Congo) on the sex lives of an amusingly random and surreal cross-section of audience types, including children, the mentally ill and housewives.

Satirically, the ‘research’ presents evidence that atrocity footage improves workplace efficiency and stimulates a healthy sex drive. Conclusion? Wars of the Vietnam type are good for society.

Using assembly kits of atrocity photographs, groups of housewives, students and psychotic patients selected the optimum child-torture victim. Rape and napalm burns remained constant preoccupations, and a wound profile of maximum arousal was constructed. Despite the revulsion expressed by the panels, follow-up surveys of work-proficiency and health patterns indicate substantial benefits. The effects of atrocity films on disturbed children were found to have positive results that indicate similar benefits for the TV public at large. These studies confirm that it is only in terms of a psychosexual module such as provided by the Vietnam war that the United States can enter into a relationship with the world generally characterized by the term ‘love.’

This fairly blunt satire – although presented in the same-chopped-up paragraphs each headed by a title in bold type as the earlier ‘stories’ – feels drastically different in intention from the earlier stories.

Maybe they reflect the quick escalation in protest against the war which took place in the last few years of the 1960s, and which prompted the equally savage satirical short story The Killing Ground of 1969.

Nuclear satire

Also: In one of his notes to the book, Ballard points out that from the late 1950s and early 1960s, the heyday of the Campaign for Nuclear Disarmament, the fact that the world was living under the shadow of impending nuclear holocaust meant that, to anybody who thought about it, everything was permissible. How could you believe in the fuddy-duddy old values of Church and State, all those crowns and gowns, if the world could be incinerated tomorrow?

Not only that, but how can you think about the end of the world and the destruction of the planet except via extremity and satire? As demonstrated by the Stanley Kubrick movie Dr Strangelove which was a) released in 1964 only 2 years before the first Atrocity story was published, and b) filmed at Shepperton studios just round the corner from Ballard’s house. Serendipities. Zeitgeist. Spirit of the Age.

Conclusion for philistines

If Ballard’s obsession with car crashes and clinical pornography seems sick, ask yourself who’s the sickest – novelists who write blistering porno-satire or generals who order napalm by the lakeful to be dropped on peasant villages?

That was the reality of the times Ballard was writing in, and for. Remember the American version of the book was titled Love and Napalm

  • The billboards multiplied around them, walling the streets with giant replicas of napalm bombings in Vietnam, the serial deaths of Elizabeth Taylor and Marilyn Monroe terraced in the landscapes of Dien Bien Phu and the Mekong Delta.
  • Homage to Abraham Zapruder Each night, as Travers moved through the deserted auditorium, the films of simulated atrocities played above the rows of empty seats, images of napalm victims, crashing cars and motorcade attacks.
  • On the basis of viewers’ preferences an optimum torture and execution sequence was devised involving Governor Reagan, Madame Ky and an unidentifiable eight-year-old Vietnamese girl napalm victim.

Remember the photo of that little naked Vietnamese girl running down the road her skin flapping off her where the napalm had burned her? Those photos were all around in 1966, 67, 68. Atrocity Exhibition is Ballard’s response to the TV-mediated hyper-violence and psychic disturbance of the times.

Conclusion for Ballardians

I think it’s his best book. It’s an über-intense encyclopedia of Ballard’s distinctive obsessions and visions. Some people read it as an experimental depiction of the psyche of a man undergoing a nervous breakdown.

I think it’s bigger than that, it presents an (in)coherent way of verbalising a number of the visual, psychological and imaginative pressures anyone living in the modern era is subjected to. The constant, hammering pressure of the motorways, the thundering traffic, the massive planes grinding overhead, the aggressive billboard hoardings, the saturated mediascape, the faces of the same handful of celebrities dinned into our brains, and the deadening and at the same time hysterical impact that has on our imaginative lives, and emotional lives, and sex lives (if we have them).

Joy Division

Wrote a song based on the book, released on their 1980 album Closer, which is a fair attempt to capture the book’s weirdness in another medium.


Related links

Reviews of other Ballard books

Novels

Short story collections

Other science fiction reviews

Late Victorian
1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1900s
1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1910s
1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1920s
1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, where they discover…

1930s
1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years – surely the most sweeping vista of any science fiction book
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Oxford academic Ransom and take him in their spherical spaceship to Malacandra, as the natives call the planet Mars

1940s
1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950s
1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the  Foundation Trilogy, which describes the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence, powered by ‘spindizzy’ technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them until one fireman, Guy Montag, rebels
1953 The Demolished Man by Alfred Bester – a breathless novel set in a 24th century New York populated by telepaths and describing the mental collapse of corporate mogul Ben Reich who starts by murdering his rival Craye D’Courtney and becomes progressively more psychotic as he is pursued by telepathic detective, Lincoln Powell
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
Some problems with Isaac Asimov’s science fiction
1956 They Shall Have Stars by James Blish – explains the invention, in the near future, of i) the anti-death drugs and ii) the spindizzy technology which allow the human race to colonise the galaxy
1956 The Stars My Destination by Alfred Bester – a fast-paced phantasmagoria set in the 25th century where humans can teleport, a terrifying new weapon has been invented, and tattooed hard-man, Gulliver Foyle, is looking for revenge
1959 The Triumph of Time by James Blish – concluding novel of Blish’s ‘Okie’ tetralogy in which mayor of New York John Amalfi and his friends are present at the end of the universe
1959 The Sirens of Titan by Kurt Vonnegut – Winston Niles Rumfoord builds a space ship to explore the solar system where encounters a chrono-synclastic infundibula, and this is just the start of a bizarre meandering fantasy which includes the Army of Mars attacking earth and the adventures of Boaz and Unk in the caverns of Mercury

1960s
1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 The Drowned World by J.G. Ballard – Dr Kerans is part of a UN mission to map the lost cities of Europe which have been inundated after solar flares melted the worlds ice caps and glaciers, but finds himself and his colleagues’ minds slowly infiltrated by prehistoric memories of the last time the world was like this, complete with tropical forest and giant lizards, and slowly losing their grasp on reality.
1962 The Voices of Time and Other Stories – Eight of Ballard’s most exquisite stories including the title tale about humanity slowly falling asleep even as they discover how to listen to the voices of time radiating from the mountains and distant stars, or The Cage of Sand where a handful of outcasts hide out in the vast dunes of Martian sand brought to earth as ballast which turned out to contain fatal viruses. Really weird and visionary.
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard space-travelling New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1962 Mother Night by Kurt Vonnegut – the memoirs of American Howard W. Campbell Jr. who was raised in Germany and has adventures with Nazis and spies
1963 Cat’s Cradle by Kurt Vonnegut – what starts out as an amiable picaresque as the narrator, John, tracks down the so-called ‘father of the atom bomb’, Felix Hoenniker for an interview turns into a really bleak, haunting nightmare where an alternative form of water, ice-nine, freezes all water in the world, including the water inside people, killing almost everyone and freezing all water forever
1964 The Drought by J.G. Ballard – It stops raining. Everywhere. Fresh water runs out. Society breaks down and people move en masse to the seaside, where fighting breaks out to get near the water and set up stills. In part two, ten years later, the last remnants of humanity scrape a living on the vast salt flats which rim the continents, until the male protagonist decides to venture back inland to see if any life survives
1964 The Terminal Beach by J.G. Ballard – Ballard’s breakthrough collection of 12 short stories which, among more traditional fare, includes mind-blowing descriptions of obsession, hallucination and mental decay set in the present day but exploring what he famously defined as ‘inner space’
1964 Dr. Strangelove, or, How I Learned to Stop Worrying and Love the Bomb by Peter George – a novelisation of the famous Kubrick film, notable for the prologue written as if by aliens who arrive in the distant future to find an earth utterly destroyed by the events described in the main narrative
1966 Rocannon’s World by Ursula Le Guin – Le Guin’s first novel, a ‘planetary romance’ or ‘science fantasy’ set on Fomalhaut II where ethnographer and ‘starlord’ Gaverel Rocannon rides winged tigers and meets all manner of bizarre foes in his quest to track down the aliens who destroyed his spaceship and killed his colleagues, aided by sword-wielding Lord Mogien and a telepathic Fian
1966 Planet of Exile by Ursula Le Guin – both the ‘farborn’ colonists of planet Werel, and the surrounding tribespeople, the Tevarans, must unite to fight off the marauding Gaal who are migrating south as the planet enters its deep long winter – not a good moment for the farborn leader, Jakob Agat Alterra, to fall in love with Rolery, the beautiful, golden-eyed daughter of the Tevaran chief
1966 – The Crystal World by J.G. Ballard – Dr Sanders journeys up an African river to discover that the jungle is slowly turning into crystals, as does anyone who loiters too long, and becomes enmeshed in the personal psychodramas of a cast of lunatics and obsessives
1967 The Disaster Area by J.G. Ballard – Nine short stories including memorable ones about giant birds, an the man who sees the prehistoric ocean washing over his quite suburb.
1967 City of Illusions by Ursula Le Guin – an unnamed humanoid with yellow cat’s eyes stumbles out of the great Eastern Forest which covers America thousands of years in the future when the human race has been reduced to a pitiful handful of suspicious rednecks or savages living in remote settlements. He is discovered and nursed back to health by a relatively benign commune but then decides he must make his way West in an epic trek across the continent to the fabled city of Es Toch where he will discover his true identity and mankind’s true history
1966 The Anti-Death League by Kingsley Amis
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into a galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped ‘andys’ – earning enough to buy mechanical animals, since all real animals died long ago
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after they are involved in an explosion on the moon
1969 The Left Hand of Darkness by Ursula Le Guin – an envoy from the Ekumen or federation of advanced planets – Genly Ai – is sent to the planet Gethen to persuade its inhabitants to join the federation, but the focus of the book is a mind-expanding exploration of the hermaphroditism of Gethen’s inhabitants, as Genly is forced to undertake a gruelling trek across the planet’s frozen north with the disgraced native lord, Estraven, during which they develop a cross-species respect and, eventually, a kind of love
1969 Slaughterhouse-Five by Kurt Vonnegut – Vonnegut’s breakthrough novel in which he manages to combine his personal memories of being an American POW of the Germans and witnessing the bombing of Dresden in the character of Billy Pilgrim, with a science fiction farrago about Tralfamadorians who kidnap Billy and transport him through time and space – and introduces the catchphrase ‘so it goes’

1970s
1970 Tau Zero by Poul Anderson – spaceship Leonora Christine leaves earth with a crew of fifty to discover if humans can colonise any of the planets orbiting the star Beta Virginis, but when its deceleration engines are damaged, the crew realise they need to exit the galaxy altogether in order to find space with low enough radiation to fix the engines – and then a series of unfortunate events mean they find themselves forced to accelerate faster and faster, effectively travelling forwards through time as well as space until they witness the end of the entire universe – one of the most thrilling sci-fi books I’ve ever read
1970 The Atrocity Exhibition by J.G. Ballard – Ballard’s best book, a collection of fifteen short experimental texts in stripped-down prose bringing together key obsessions like car crashes, mental breakdown, World War III, media images of atrocities and clinical sex
1971 Vermilion Sands by J.G. Ballard – nine short stories including Ballard’s first, from 1956, most of which follow the same shape, describing the arrival of a mysterious, beguiling woman in the fictional desert resort of Vermilion Sands, the setting for extravagantly surreal tales of the glossy, lurid and bizarre
1971 The Lathe of Heaven by Ursula Le Guin – thirty years in the future (in 2002) America is an overpopulated environmental catastrophe zone where meek and unassuming George Orr discovers that is dreams can alter reality, changing history at will. He comes under the control of visionary neuro-scientist, Dr Haber, who sets about using George’s powers to alter the world for the better with unanticipated and disastrous consequences
1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic, leading to harum scarum escapades in disaster-stricken London
1972 The Word for World Is Forest by Ursula Le Guin – novella set on the planet Athshe describing its brutal colonisation by exploitative Terrans (who call it ‘New Tahiti’) and the resistance of the metre-tall, furry, native population of Athsheans, with their culture of dreamtime and singing
1972 The Fifth Head of Cerberus by Gene Wolfe – a mind-boggling trio of novellas set on a pair of planets 20 light years away, the stories revolve around the puzzle of whether the supposedly human colonists are, in fact, the descendants of the planets’ shape-shifting aboriginal inhabitants who murdered the first earth colonists and took their places so effectively that they have forgotten the fact and think themselves genuinely human
1973 Crash by J.G. Ballard – Ballard’s most ‘controversial’ novel, a searingly intense description of its characters’ obsession with the sexuality of car crashes, wounds and disfigurement
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre-long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it in one of the most haunting and evocative novels of this type ever written
1973 Breakfast of Champions by Kurt Vonnegut – Vonnegut’s longest and most experimental novel with the barest of plots and characters allowing him to sound off about sex, race, America, environmentalism, with the appearance of his alter ego Kilgore Trout and even Vonnegut himself as a character, all enlivened by Vonnegut’s own naive illustrations and the throwaway catchphrase ‘And so on…’
1974 Concrete Island by J.G. Ballard – the short and powerful novella in which an advertising executive crashes his car onto a stretch of wasteland in the juncture of three motorways, finds he can’t get off it, and slowly adapts to life alongside its current, psychologically damaged inhabitants
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?
1974 The Dispossessed by Ursula Le Guin – in the future and 11 light years from earth, the physicist Shevek travels from the barren, communal, anarchist world of Anarres to its consumer capitalist cousin, Urras, with a message of brotherhood and a revolutionary new discovery which will change everything
1974 Inverted World by Christopher Priest – vivid description of a city on a distant planet which must move forwards on railway tracks constructed by the secretive ‘guilds’ in order not to fall behind the mysterious ‘optimum’ and avoid the fate of being obliterated by the planet’s bizarre lateral distorting, a vivid and disturbing narrative right up until the shock revelation of the last few pages
1975 High Rise by J.G. Ballard – an astonishingly intense and brutal vision of how the middle-class occupants of London’s newest and largest luxury, high-rise development spiral down from petty tiffs and jealousies into increasing alcohol-fuelled mayhem, disintegrating into full-blown civil war before regressing to starvation and cannibalism
1976 Slapstick by Kurt Vonnegut – a madly disorientating story about twin freaks, a future dystopia, shrinking Chinese and communication with the afterlife
1979 The Unlimited Dream Company by J.G. Ballard – a strange combination of banality and visionary weirdness as an unhinged young man crashes his stolen plane in suburban Shepperton, and starts performing magical acts like converting the inhabitants into birds, conjuring up exotic foliage, convinced his is on a mission to liberate them
1979 Jailbird by Kurt Vonnegut – the satirical story of Walter F. Starbuck and the RAMJAC Corps run by Mary Kathleen O’Looney, a baglady from Grand Central Station, among other satirical notions including the new that Kilgore Trout, a character who recurs in most of his novels, is one of the pseudonyms of a fellow prison at the gaol where Starbuck serves a two year sentence, one Dr Robert Fender

1980s
1980 Russian Hide and Seek by Kingsley Amis – set in an England of 2035 after a) the oil has run out and b) a left-wing government left NATO and England was promptly invaded by the Russians – ‘the Pacification’, who have settled down to become a ruling class and treat the native English like 19th century serfs
1980 The Venus Hunters by J.G. Ballard – seven very early and often quite cheesy sci-fi short stories, along with a visionary satire on Vietnam (1969), and then two mature stories from the 1970s which show Ballard’s approach sliding into mannerism
1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the ‘Golden Era’ of the genre, basically the 1950s
1981 Hello America by J.G. Ballard – a hundred years from now an environmental catastrophe has turned America into a vast, arid desert, except for west of the Rockies which has become a rainforest of Amazonian opulence, and it is here that a ragtag band of explorers from old Europe discover a psychopath has crowned himself President Manson, has revived an old nuclear power station in order to light up Las Vegas, and plays roulette in Caesar’s Palace to decide which American city to nuke next
1981 The Affirmation by Christopher Priest – an extraordinarily vivid description of a schizophrenic young man living in London who, to protect against the trauma of his actual life (father died, made redundant, girlfriend committed suicide) invents a fantasy world, the Dream Archipelago, and how it takes over his ‘real’ life
1982 Myths of the Near Future by J.G. Ballard – ten short stories showing Ballard’s range of subject matter from Second World War China to the rusting gantries of Cape Kennedy
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1984 Neuromancer by William Gibson – Gibson’s stunning debut novel which establishes the ‘Sprawl’ universe, in which burnt-out cyberspace cowboy, Case, is lured by ex-hooker Molly into a mission led by ex-army colonel Armitage to penetrate the secretive corporation, Tessier-Ashpool, at the bidding of the vast and powerful artificial intelligence, Wintermute
1986 Burning Chrome by William Gibson – ten short stories, three or four set in Gibson’s ‘Sprawl’ universe, the others ranging across sci-fi possibilities, from a kind of horror story to one about a failing Russian space station
1986 Count Zero by William Gibson – second in the ‘Sprawl trilogy’
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa
1988 Mona Lisa Overdrive by William Gibson – third of Gibson’s ‘Sprawl’ trilogy in which street-kid Mona is sold by her pimp to crooks who give her plastic surgery to make her look like global simstim star Angie Marshall, who they plan to kidnap but is herself on a quest to find her missing boyfriend, Bobby Newmark, one-time Count Zero; while the daughter of a Japanese gangster who’s sent her to London for safekeeping is abducted by Molly Millions, a lead character in Neuromancer

1990s
1990 The Difference Engine by William Gibson and Bruce Sterling – in an alternative version of history, Charles Babbage’s early computer, instead of being left as a paper theory, was actually built, drastically changing British society, so that by 1855 it is led by a party of industrialists and scientists who use databases and secret police to keep the population suppressed

J.G. Ballard’s literary experimentalism

The most obvious thing about Ballard’s novels and short stories is that, although they have a hallucinatory intensity and routinely describe extreme mental states and characters who descend into psychosis and insanity, the outward form of them is for the most part extremely conservative.

Ballard’s prose style occasionally uses unexpected phraseology but is, at its heart, pukka – an eminently correct, professional, middle-class English voice. In other words, the searing weirdness of many of Ballard’s stories is conveyed in a disconcertingly respectable prose style.

It is, therefore, something of a surprise to learn that Ballard had a long-running interest in quite radical literary experimentation, and it’s useful to be aware of his efforts in this field because they inform your reading of the earlier and mid-period stories and novels.

This blog post is a brief overview of the most notable of Ballard’s literary experiments. (What follows is heavily indebted to a number of online articles which are referenced at the bottom.)

Project for a new novel (1958)

In the late 1950s Ballard was working on the journal of the Chemical Society in London and was much taken with the juxtaposition of snazzy layout and scientific content in related American magazines, such as Chemical and Engineering News.

He had the idea of cutting up headlines and text from it and other scientific magazines like it, in order to create collages packed with scientific words and phrases arranged in surreal combinations:

Letters, words and sentence fragments are pasted onto backing sheets with glue. Their design visually references everyday media, with headlines, body text and double-page spreads suggesting a magazine layout. Originally Ballard planned to display the work on billboards, as if it was a public advertisement.

In the end Ballard created four collage works, which became famous among his friends and close colleagues, and which are now in the possession of the British Library who curate Ballard’s collected notes and manuscripts.

One of the four collages Ballard made for his Project for New Novel. Note the phrase Mr F is Mr F, which became the title of a short story, and the names Coma, Kline and Xero, given to characters who turn up in the novel The Atrocity Exhibition

Ballard himself described the Project as:

Sample pages of a new kind of novel, entirely consisting of magazine-style headlines and layouts, with a deliberately meaningless text, the idea being that the imaginative content could be carried by the headlines and overall design, so making obsolete the need for a traditional text except for virtually decorative purposes.

I liked the stylish typography. I also like the scientific content, and used stories to provide the text of my novel. Curiously enough, far from being meaningless, the science news stories somehow become fictionalised by the headings around them.

It was a collage of things clipped from journals like Chemical Engineering News, the American Chemical Society’s journal – I used them a lot because I liked the typeface. I wanted to publish a novel that looked like that, you see – hundreds of pages of that sort of thing. Get away from text altogether – just headlines!

Many of the names, phrases and concerns which first appeared in the Project have resurfaced over the years, particularly the characters Coma, Kline and Xero who appear in The Atrocity Exhibition, Coma also cropping up in the classic short story The Voices of Time, and phrases such as ‘the terminal beach’ and ‘Mr F is Mr F’, both of which became the titles of short stories.

The four collages can also be seen in the background of a photograph of Ballard taken in 1960 in his garden at Shepperton, which has become a talisman for true Ballardians. The full text of Project for a New Novel was finally published 20 years after it was created, in New Worlds magazine No. 213, in 1978.

J.G. Ballard in front of his abandoned billboard novel, 1960. Photo: Mary Ballard

Advertisers Announcements (1967-71)

Between 1967 and 1971 Ballard produced five Advertisers Announcements. As he explained in an interview:

Back in the late 60s I produced a series of advertisements which I placed in various publications (Ambit, New Worlds, Ark and various continental alternative magazines), doing the art work myself and arranging for the blockmaking, and then delivering the block to the particular journal just as would a commercial advertiser.

Of course I was advertising my own conceptual ideas, but I wanted to do so within the formal circumstances of classic commercial advertising – I wanted ads that would look in place in Vogue, Paris Match, Newsweek, etc.

To maintain the integrity of the project I paid the commercial rate for the page, even in the case of Ambit, of which I was and still am Prose Editor. I would liked to have branched out into Vogue and Newsweek, but cost alone stopped me…

The five ads are:

1. Homage to Claire Churchill

Homage to Claire Churchill (1967)

Claire was his girlfriend and this a pretty straightforward happy photo of her. There’s no strapline or product logo as you’d expect in a real advert. Instead there’s a dense paragraph of text at the bottom, quoting a typical paragraph from his experimental novel, The Atrocity Exhibition, indeed the ad was published in Ambit in July 1967 and it borrows copy directly from ‘The Death Module’, simultaneously published in New Worlds and later re-named ‘Notes Towards A Mental Breakdown’ in The Atrocity Exhibition.

2. Does the angle between two walls have a happy ending?

The Angle Between two Walls (1967)

This is a still from the art film Alone by American filmmaker Steve Dwoskin, which records a woman masturbating, shot from floor level and pointing up between her legs to show her hand as she touches herself.

What has this got to do with the angle between walls? Well, the correlation of sex and the angles of walls and buildings is explained in The Atrocity Exhibition by the book’s psychiatrist Dr Nathan. He explains that the book’s central protagonists has moved so far beyond conventional sex that he has excavated down to the fundamental paradigm of the junction – an obsession with how entities meet and combine of which human sex is just a small sub-set.

Hence the character’s obsession with the walls of the apartments and bedrooms he finds himself in, and with modern architecture like the (then new) Hilton Hotel, and the curving ramps and inclined planes of the new concrete multi-story car parks. These are all aspects of the modern world’s obsession with junctions and angles and the meeting points of lines and planes. As such they are visual correlatives of the strange angles and postures adopted by the human animal when it has sex.

3. A Neural Interval

A Neural Interval (1968)

This is a photo from a 1960s bondage magazine. It’s not particularly sexy, is it? Because of the sea in the background I initially thought the subject was a swimmer or diver with cumbersome kit photo-collaged on top of her. But no, this really is a supposedly sexy photo of bondage gear circa 1968.

The adjective ‘neural’ crops up a lot in late-60s Ballard, and the phrase ‘neural interval’ suggests a stoppage in time, or at least a stoppage of stimuli to the senses. It’s not immediately clear how this is related to a woman wearing bondage gear in a boat, although possibly the very disjunction between the words and the image are precisely its point.

4. Placental Insufficiency

A Placental Insufficiency (1970)

Ballard appropriates a striking photo by American photographer Les Krims. I thought that some or all of it must have been collaged, but apparently this woman looked like that and was happy to pose with a hunting rifle. Those Yanks, eh.

By this stage, after four ads, I think two or three things are obvious.

1. Women The photos are all of women, sexy or naked women in 3 out of 4. If Ballard is seeking to deconstruct the glib imagery of advertising, featuring naked women is a funny way of going about it. Still, it was 1967 or 68, I suppose when plenty of womens liberationists thought that burning their bras and stripping naked would abolish shame, embarrassment and the male gaze.

2. America For someone supposedly engaged in critiquing the modern world, deconstructing consumer capitalism, revealing the perverse fetishism which underlies the commercial packaging of homogenised sexuality etc etc, Ballard, like so many rebels and revolutionaries of his era, was strongly attracted to the epicentre of world capitalism and inclined to bow the knee to every type of American consumer product, including Hollywood film actresses and the long, cool, flash American cars which feature in so much of his mid-period fiction (like the heavy American Lincoln Continental driven by Dr Robert Vaughan, the demented exponent of car crash fetishism in Crash).

3. Texts But the really obvious thing about them is that, although the images are striking, the real force of the thing comes from the texts. Ballard not only doesn’t have the courage to leave the images to stand alone, or to give them brief and clever or satirical straplines: each one has to have quite lengthy and demanding avant-garde text stapled onto them.

5. Venus Smiles

Venus Smiles (1970)

Ballard himself took this photo of his partner Claire Churchill as she was contorting herself to get into a pair of jeans after a visit to the beach, hence the flecks of seaweed and sand sticking to her white skin.

This is the most interesting of the photos because of the way it’s been turned on its side, because of the big black bush between her legs, and the way the detritus clings to her skin like flies or enlarged bacilli. And the superimposed text, which starts off with characteristic Ballard obsessions with depersonalisation, ends up being unexpectedly sweet.

Conclusion

These pictures of five women, four of them naked, tend to confirm the suspicion that the super-imposed text might be clever but this arty contrivance – like so many attempts at avant-garde art – pales into insignificance next to the immense primal urge of male voyeurism.

Condensed novels and The Atrocity Exhibition

Knowing about the cut-and-paste novel idea, and having seen the Alternative Ads, it’s a lot easier to understand why Ballard originally wanted to have The Atrocity Exhibition done as a book of collage illustrations.

I originally wanted a large-format book, printed by photo-offset, in which I would produce the artwork – a lot of collages, material taken from medical documents and medical photographs, crashing cars and all that sort of iconography.

Alas, the practicalities of publishing intervened, and Ballard amended the idea to something related but different.

The final version of The Atrocity Exhibition is his most accessible piece of experimentalism because it was published as a mass market paperback. Superficially the book is divided into fifteen short ‘chapters’ but as soon as you start reading them you realise that none of them make sense in themselves, and they certainly don’t add up to a consistent narrative in the usual way of a novel.

Instead, each chapter is what Ballard described as a ‘condensed’ novel – clips and excerpts, moments of time, brief gestures and fragments of dialogue cut and pasted together. The reader has to sort out what is going on and how the fragments are connected, in his or her own mind.

Not only that, but each ‘chapter’ or ‘condensed novel’ references the same fragments, actions and images, repeated but in distorted form. At the most obvious level, the same ‘characters’ recur in consecutive sections – Dr Nathan, Catherine Austen, Karen Novotny – but there is also a stray meeting between two characters at some kind of formal conference or symposium which is re-enacted in each chapter, there is the repeated enactment of car crashes or of a helicopter crash which is its cognate; the male characters each display obsessive behaviour, such as Talbot assembling some kind of modernist sculpture on the roof or outlining furniture in an apartment with chalk; and each chapter contains a numbered list, although the items on the list change from chapter to chapter and so does the ostensible list creator. And so on.

The point is that The Atrocity Exhibition makes a lot more sense if you don’t come to it cold, as an unexpected freak show, but see it as a logical development and extension of Ballard’s long-running interest in fragments, collage and non-narrative.

Crashed Cars exhibition (1970)

In April 1970 Ballard staged an exhibition titled Crashed Cars at the New Arts Laboratory in London.

1. In the post-war period cars became a symbol of consumer empowerment and glamour. Cars were promoted in films and adverts and car ownership rocketed. However, so did the incidence of car crashes, with a number featuring high-profile fatalities – James Dean (1955), Albert Camus (1960), Jayne Mansfield (1967) (which, obviously, continued after the exhibition and down to our day – Marc Bolan (1977), Grace Kelly (1982), Princess Diana (1997)).

2. And after all, a car crash is the centrepiece of the closing song on the decade’s keystone album, Sergeant Pepper’s Lonely Hearts Club Band, when John Lennon sings:

I read the news today, oh boy
About a lucky man who made the grade
And though the news was rather sad
Well, I just had to laugh
I saw the photograph

He blew his mind out in a car
He didn’t notice that the lights had changed
A crowd of people stood and stared
They’d seen his face before
Nobody was really sure if he was from the House of Lords

3. A quick search of the internet reveals that, as it happens, the highest figure for road traffic-related deaths during peacetime was 7,985 in 1966, the year before the Beatles album (by comparison, 1,782 people were killed in road accidents in 2018.)

So Ballard wasn’t being all that eccentric to envision a) the car as a key symbol of the twentieth century, and b) the mystique about car crashes – the way they had killed a number of A-list celebrities, the way people were gruesomely fascinated by them (‘Well, I just had to laugh, I saw the photograph’) – as telling us something profound and unsettling about our car-mad culture.

And so he staged an exhibition of crashed cars. Actually, there were only three car wrecks in the exhibition and – disappointingly – no photos of the event appear to have survived. Some of the visitors to the gallery vandalised the wrecks with wine, paint and urine, confirming Ballard’s belief that the growing ‘technological landscape’ was influencing human behaviour and social relationships and not in a good way.

Alternatively, they might just have been getting into the spirit of anarchic 1960s ‘happenings’.

To me Ballard’s Crash exhibition hardly seems experimental at all. It is well known that people stop to stare at car crashes and that traffic slows right down on motorways as people slowly pass the scenes of smashes. I’ve done it myself.

This is because there really is something deeply fascinating about the pathology of car crashes and something weirdly compelling about the way that objects which are promoted as smooth and curved and aerodynamically perfect are transformed into angular nests of smashed windscreens and random spikes of metal jutting out. For the last few days I’ve walked past a car parked near my work, the right half of whose bonnet and wings are buckled up and outwards like the carapaces of an enormous beetle.

Since 1970 we’ve had precisely 50 years during which all kinds of objects from the real world have been situated in galleries for our entertainment and mystification. A few years ago I came across a display at Tate Modern of a set of engine blocks from cars which had been blown up by suicide bombers in the Middle East, considered as works of art. No-one bats an eyelid at things like that any more.

So considering the exhibition as an investigation of just what it is that fascinates us about car crashes, and the suggestion that they have a strange and eerie beauty of their own, doesn’t strike me as at all weird. In fact it’s surprising that it took someone so long to come up with it.

Traditionally, the significance of the exhibition is that Ballard went on to explore the mystique and pathology of car crashes in the ‘controversial’ novel Crash (1973), although the weirdness of our obsessive car culture is also the subject of the less well-known novel Concrete Island which immediately followed it (1974). But I’m making the point that the Crash exhibition was part of a continuum of literary and artistic experiments which Ballard undertook in the first half of his career.

Practical conclusion

In the 1950s and 60s Ballard created more collages, now lost. I imagine these, like the New Project and the Advertisers Announcements were fun to make and show friends and maybe persuade a gallery to display for a while… But in the end your agent, your wife and your publisher want standardised texts which they can publish, market and sell. Which is what, after the mid-70s, Ballard produced in abundance.


References

Reviews of other Ballard books

Novels

Short story collections

Other science fiction reviews

Late Victorian
1888 Looking Backward 2000-1887 by Edward Bellamy – Julian West wakes up in the year 2000 to discover a peaceful revolution has ushered in a society of state planning, equality and contentment
1890 News from Nowhere by William Morris – waking from a long sleep, William Guest is shown round a London transformed into villages of contented craftsmen

1895 The Time Machine by H.G. Wells – the unnamed inventor and time traveller tells his dinner party guests the story of his adventure among the Eloi and the Morlocks in the year 802,701
1896 The Island of Doctor Moreau by H.G. Wells – Edward Prendick is stranded on a remote island where he discovers the ‘owner’, Dr Gustave Moreau, is experimentally creating human-animal hybrids
1897 The Invisible Man by H.G. Wells – an embittered young scientist, Griffin, makes himself invisible, starting with comic capers in a Sussex village, and ending with demented murders
1899 When The Sleeper Wakes/The Sleeper Wakes by H.G. Wells – Graham awakes in the year 2100 to find himself at the centre of a revolution to overthrow the repressive society of the future
1899 A Story of the Days To Come by H.G. Wells – set in the same future London as The Sleeper Wakes, Denton and Elizabeth defy her wealthy family in order to marry, fall into poverty, and experience life as serfs in the Underground city run by the sinister Labour Corps

1900s
1901 The First Men in the Moon by H.G. Wells – Mr Bedford and Mr Cavor use the invention of ‘Cavorite’ to fly to the moon and discover the underground civilisation of the Selenites
1904 The Food of the Gods and How It Came to Earth by H.G. Wells – scientists invent a compound which makes plants, animals and humans grow to giant size, prompting giant humans to rebel against the ‘little people’
1905 With the Night Mail by Rudyard Kipling – it is 2000 and the narrator accompanies a GPO airship across the Atlantic
1906 In the Days of the Comet by H.G. Wells – a comet passes through earth’s atmosphere and brings about ‘the Great Change’, inaugurating an era of wisdom and fairness, as told by narrator Willie Leadford
1908 The War in the Air by H.G. Wells – Bert Smallways, a bicycle-repairman from Kent, gets caught up in the outbreak of the war in the air which brings Western civilisation to an end
1909 The Machine Stops by E.M. Foster – people of the future live in underground cells regulated by ‘the Machine’ until one of them rebels

1910s
1912 The Lost World by Sir Arthur Conan Doyle – Professor Challenger leads an expedition to a plateau in the Amazon rainforest where prehistoric animals still exist
1912 As Easy as ABC by Rudyard Kipling – set in 2065 in a world characterised by isolation and privacy, forces from the ABC are sent to suppress an outbreak of ‘crowdism’
1913 The Horror of the Heights by Arthur Conan Doyle – airman Captain Joyce-Armstrong flies higher than anyone before him and discovers the upper atmosphere is inhabited by vast jellyfish-like monsters
1914 The World Set Free by H.G. Wells – A history of the future in which the devastation of an atomic war leads to the creation of a World Government, told via a number of characters who are central to the change
1918 The Land That Time Forgot by Edgar Rice Burroughs – a trilogy of pulp novellas in which all-American heroes battle ape-men and dinosaurs on a lost island in the Antarctic

1920s
1921 We by Evgeny Zamyatin – like everyone else in the dystopian future of OneState, D-503 lives life according to the Table of Hours, until I-330 wakens him to the truth
1925 Heart of a Dog by Mikhail Bulgakov – a Moscow scientist transplants the testicles and pituitary gland of a dead tramp into the body of a stray dog, with disastrous consequences
1927 The Maracot Deep by Arthur Conan Doyle – a scientist, engineer and a hero are trying out a new bathysphere when the wire snaps and they hurtle to the bottom of the sea, where they discover…

1930s
1930 Last and First Men by Olaf Stapledon – mind-boggling ‘history’ of the future of mankind over the next two billion years – surely the most sweeping vista of any science fiction book
1938 Out of the Silent Planet by C.S. Lewis – baddies Devine and Weston kidnap Oxford academic Ransom and take him in their spherical spaceship to Malacandra, as the natives call the planet Mars

1940s
1943 Perelandra (Voyage to Venus) by C.S. Lewis – Ransom is sent to Perelandra aka Venus, to prevent a second temptation by the Devil and the fall of the planet’s new young inhabitants
1945 That Hideous Strength: A Modern Fairy-Tale for Grown-ups by C.S. Lewis– Ransom assembles a motley crew to combat the rise of an evil corporation which is seeking to overthrow mankind
1949 Nineteen Eighty-Four by George Orwell – after a nuclear war, inhabitants of ruined London are divided into the sheep-like ‘proles’ and members of the Party who are kept under unremitting surveillance

1950s
1950 I, Robot by Isaac Asimov – nine short stories about ‘positronic’ robots, which chart their rise from dumb playmates to controllers of humanity’s destiny
1950 The Martian Chronicles – 13 short stories with 13 linking passages loosely describing mankind’s colonisation of Mars, featuring strange, dreamlike encounters with Martians
1951 Foundation by Isaac Asimov – the first five stories telling the rise of the Foundation created by psychohistorian Hari Seldon to preserve civilisation during the collapse of the Galactic Empire
1951 The Illustrated Man – eighteen short stories which use the future, Mars and Venus as settings for what are essentially earth-bound tales of fantasy and horror
1952 Foundation and Empire by Isaac Asimov – two long stories which continue the future history of the Foundation set up by psychohistorian Hari Seldon as it faces attack by an Imperial general, and then the menace of the mysterious mutant known only as ‘the Mule’
1953 Second Foundation by Isaac Asimov – concluding part of the  Foundation Trilogy, which describes the attempt to preserve civilisation after the collapse of the Galactic Empire
1953 Earthman, Come Home by James Blish – the adventures of New York City, a self-contained space city which wanders the galaxy 2,000 years hence, powered by ‘spindizzy’ technology
1953 Fahrenheit 451 by Ray Bradbury – a masterpiece, a terrifying anticipation of a future when books are banned and professional firemen are paid to track down stashes of forbidden books and burn them until one fireman, Guy Montag, rebels
1953 The Demolished Man by Alfred Bester – a breathless novel set in a 24th century New York populated by telepaths and describing the mental collapse of corporate mogul Ben Reich who starts by murdering his rival Craye D’Courtney and becomes progressively more psychotic as he is pursued by telepathic detective, Lincoln Powell
1953 Childhood’s End by Arthur C. Clarke a thrilling narrative involving the ‘Overlords’ who arrive from space to supervise mankind’s transition to the next stage in its evolution
1954 The Caves of Steel by Isaac Asimov – set 3,000 years in the future when humans have separated into ‘Spacers’ who have colonised 50 other planets, and the overpopulated earth whose inhabitants live in enclosed cities or ‘caves of steel’, and introducing detective Elijah Baley to solve a murder mystery
1956 The Naked Sun by Isaac Asimov – 3,000 years in the future detective Elijah Baley returns, with his robot sidekick, R. Daneel Olivaw, to solve a murder mystery on the remote planet of Solaria
Some problems with Isaac Asimov’s science fiction
1956 They Shall Have Stars by James Blish – explains the invention, in the near future, of i) the anti-death drugs and ii) the spindizzy technology which allow the human race to colonise the galaxy
1956 The Stars My Destination by Alfred Bester – a fast-paced phantasmagoria set in the 25th century where humans can teleport, a terrifying new weapon has been invented, and tattooed hard-man, Gulliver Foyle, is looking for revenge
1959 The Triumph of Time by James Blish – concluding novel of Blish’s ‘Okie’ tetralogy in which mayor of New York John Amalfi and his friends are present at the end of the universe
1959 The Sirens of Titan by Kurt Vonnegut – Winston Niles Rumfoord builds a space ship to explore the solar system where encounters a chrono-synclastic infundibula, and this is just the start of a bizarre meandering fantasy which includes the Army of Mars attacking earth and the adventures of Boaz and Unk in the caverns of Mercury

1960s
1961 A Fall of Moondust by Arthur C. Clarke a pleasure tourbus on the moon is sucked down into a sink of moondust, sparking a race against time to rescue the trapped crew and passengers
1962 The Drowned World by J.G. Ballard – Dr Kerans is part of a UN mission to map the lost cities of Europe which have been inundated after solar flares melted the worlds ice caps and glaciers, but finds himself and his colleagues’ minds slowly infiltrated by prehistoric memories of the last time the world was like this, complete with tropical forest and giant lizards, and slowly losing their grasp on reality.
1962 The Voices of Time and Other Stories – Eight of Ballard’s most exquisite stories including the title tale about humanity slowly falling asleep even as they discover how to listen to the voices of time radiating from the mountains and distant stars, or The Cage of Sand where a handful of outcasts hide out in the vast dunes of Martian sand brought to earth as ballast which turned out to contain fatal viruses. Really weird and visionary.
1962 A Life For The Stars by James Blish – third in the Okie series about cities which can fly through space, focusing on the coming of age of kidnapped earther, young Crispin DeFord, aboard space-travelling New York
1962 The Man in the High Castle by Philip K. Dick In an alternative future America lost the Second World War and has been partitioned between Japan and Nazi Germany. The narrative follows a motley crew of characters including a dealer in antique Americana, a German spy who warns a Japanese official about a looming surprise German attack, and a woman determined to track down the reclusive author of a hit book which describes an alternative future in which America won the Second World War
1962 Mother Night by Kurt Vonnegut – the memoirs of American Howard W. Campbell Jr. who was raised in Germany and has adventures with Nazis and spies
1963 Cat’s Cradle by Kurt Vonnegut – what starts out as an amiable picaresque as the narrator, John, tracks down the so-called ‘father of the atom bomb’, Felix Hoenniker for an interview turns into a really bleak, haunting nightmare where an alternative form of water, ice-nine, freezes all water in the world, including the water inside people, killing almost everyone and freezing all water forever
1964 The Drought by J.G. Ballard – It stops raining. Everywhere. Fresh water runs out. Society breaks down and people move en masse to the seaside, where fighting breaks out to get near the water and set up stills. In part two, ten years later, the last remnants of humanity scrape a living on the vast salt flats which rim the continents, until the male protagonist decides to venture back inland to see if any life survives
1964 The Terminal Beach by J.G. Ballard – Ballard’s breakthrough collection of 12 short stories which, among more traditional fare, includes mind-blowing descriptions of obsession, hallucination and mental decay set in the present day but exploring what he famously defined as ‘inner space’
1964 Dr. Strangelove, or, How I Learned to Stop Worrying and Love the Bomb by Peter George – a novelisation of the famous Kubrick film, notable for the prologue written as if by aliens who arrive in the distant future to find an earth utterly destroyed by the events described in the main narrative
1966 Rocannon’s World by Ursula Le Guin – Le Guin’s first novel, a ‘planetary romance’ or ‘science fantasy’ set on Fomalhaut II where ethnographer and ‘starlord’ Gaverel Rocannon rides winged tigers and meets all manner of bizarre foes in his quest to track down the aliens who destroyed his spaceship and killed his colleagues, aided by sword-wielding Lord Mogien and a telepathic Fian
1966 Planet of Exile by Ursula Le Guin – both the ‘farborn’ colonists of planet Werel, and the surrounding tribespeople, the Tevarans, must unite to fight off the marauding Gaal who are migrating south as the planet enters its deep long winter – not a good moment for the farborn leader, Jakob Agat Alterra, to fall in love with Rolery, the beautiful, golden-eyed daughter of the Tevaran chief
1966 – The Crystal World by J.G. Ballard – Dr Sanders journeys up an African river to discover that the jungle is slowly turning into crystals, as does anyone who loiters too long, and becomes enmeshed in the personal psychodramas of a cast of lunatics and obsessives
1967 The Disaster Area by J.G. Ballard – Nine short stories including memorable ones about giant birds, an the man who sees the prehistoric ocean washing over his quite suburb.
1967 City of Illusions by Ursula Le Guin – an unnamed humanoid with yellow cat’s eyes stumbles out of the great Eastern Forest which covers America thousands of years in the future when the human race has been reduced to a pitiful handful of suspicious rednecks or savages living in remote settlements. He is discovered and nursed back to health by a relatively benign commune but then decides he must make his way West in an epic trek across the continent to the fabled city of Es Toch where he will discover his true identity and mankind’s true history
1966 The Anti-Death League by Kingsley Amis
1968 2001: A Space Odyssey a panoramic narrative which starts with aliens stimulating evolution among the first ape-men and ends with a spaceman being transformed into a galactic consciousness
1968 Do Androids Dream of Electric Sheep? by Philip K. Dick In 1992 androids are almost indistinguishable from humans except by trained bounty hunters like Rick Deckard who is paid to track down and ‘retire’ escaped ‘andys’ – earning enough to buy mechanical animals, since all real animals died long ago
1969 Ubik by Philip K. Dick In 1992 the world is threatened by mutants with psionic powers who are combated by ‘inertials’. The novel focuses on the weird alternative world experienced by a group of inertials after they are involved in an explosion on the moon
1969 The Left Hand of Darkness by Ursula Le Guin – an envoy from the Ekumen or federation of advanced planets – Genly Ai – is sent to the planet Gethen to persuade its inhabitants to join the federation, but the focus of the book is a mind-expanding exploration of the hermaphroditism of Gethen’s inhabitants, as Genly is forced to undertake a gruelling trek across the planet’s frozen north with the disgraced native lord, Estraven, during which they develop a cross-species respect and, eventually, a kind of love
1969 Slaughterhouse-Five by Kurt Vonnegut – Vonnegut’s breakthrough novel in which he manages to combine his personal memories of being an American POW of the Germans and witnessing the bombing of Dresden in the character of Billy Pilgrim, with a science fiction farrago about Tralfamadorians who kidnap Billy and transport him through time and space – and introduces the catchphrase ‘so it goes’

1970s
1970 Tau Zero by Poul Anderson – spaceship Leonora Christine leaves earth with a crew of fifty to discover if humans can colonise any of the planets orbiting the star Beta Virginis, but when its deceleration engines are damaged, the crew realise they need to exit the galaxy altogether in order to find space with low enough radiation to fix the engines – and then a series of unfortunate events mean they find themselves forced to accelerate faster and faster, effectively travelling forwards through time as well as space until they witness the end of the entire universe – one of the most thrilling sci-fi books I’ve ever read
1970 The Atrocity Exhibition by J.G. Ballard – Ballard’s best book, a collection of fifteen short experimental texts in stripped-down prose bringing together key obsessions like car crashes, mental breakdown, World War III, media images of atrocities and clinical sex
1971 Vermilion Sands by J.G. Ballard – nine short stories including Ballard’s first, from 1956, most of which follow the same shape, describing the arrival of a mysterious, beguiling woman in the fictional desert resort of Vermilion Sands, the setting for extravagantly surreal tales of the glossy, lurid and bizarre
1971 The Lathe of Heaven by Ursula Le Guin – thirty years in the future (in 2002) America is an overpopulated environmental catastrophe zone where meek and unassuming George Orr discovers that is dreams can alter reality, changing history at will. He comes under the control of visionary neuro-scientist, Dr Haber, who sets about using George’s powers to alter the world for the better with unanticipated and disastrous consequences
1971 Mutant 59: The Plastic Eater by Kit Pedler and Gerry Davis – a genetically engineered bacterium starts eating the world’s plastic, leading to harum scarum escapades in disaster-stricken London
1972 The Word for World Is Forest by Ursula Le Guin – novella set on the planet Athshe describing its brutal colonisation by exploitative Terrans (who call it ‘New Tahiti’) and the resistance of the metre-tall, furry, native population of Athsheans, with their culture of dreamtime and singing
1972 The Fifth Head of Cerberus by Gene Wolfe – a mind-boggling trio of novellas set on a pair of planets 20 light years away, the stories revolve around the puzzle of whether the supposedly human colonists are, in fact, the descendants of the planets’ shape-shifting aboriginal inhabitants who murdered the first earth colonists and took their places so effectively that they have forgotten the fact and think themselves genuinely human
1973 Crash by J.G. Ballard – Ballard’s most ‘controversial’ novel, a searingly intense description of its characters’ obsession with the sexuality of car crashes, wounds and disfigurement
1973 Rendezvous With Rama by Arthur C. Clarke – in 2031 a 50-kilometre-long object of alien origin enters the solar system, so the crew of the spaceship Endeavour are sent to explore it in one of the most haunting and evocative novels of this type ever written
1973 Breakfast of Champions by Kurt Vonnegut – Vonnegut’s longest and most experimental novel with the barest of plots and characters allowing him to sound off about sex, race, America, environmentalism, with the appearance of his alter ego Kilgore Trout and even Vonnegut himself as a character, all enlivened by Vonnegut’s own naive illustrations and the throwaway catchphrase ‘And so on…’
1974 Concrete Island by J.G. Ballard – the short and powerful novella in which an advertising executive crashes his car onto a stretch of wasteland in the juncture of three motorways, finds he can’t get off it, and slowly adapts to life alongside its current, psychologically damaged inhabitants
1974 Flow My Tears, The Policeman Said by Philip K. Dick – America after the Second World War is a police state but the story is about popular TV host Jason Taverner who is plunged into an alternative version of this world where he is no longer a rich entertainer but down on the streets among the ‘ordinaries’ and on the run from the police. Why? And how can he get back to his storyline?
1974 The Dispossessed by Ursula Le Guin – in the future and 11 light years from earth, the physicist Shevek travels from the barren, communal, anarchist world of Anarres to its consumer capitalist cousin, Urras, with a message of brotherhood and a revolutionary new discovery which will change everything
1974 Inverted World by Christopher Priest – vivid description of a city on a distant planet which must move forwards on railway tracks constructed by the secretive ‘guilds’ in order not to fall behind the mysterious ‘optimum’ and avoid the fate of being obliterated by the planet’s bizarre lateral distorting, a vivid and disturbing narrative right up until the shock revelation of the last few pages
1975 High Rise by J.G. Ballard – an astonishingly intense and brutal vision of how the middle-class occupants of London’s newest and largest luxury, high-rise development spiral down from petty tiffs and jealousies into increasing alcohol-fuelled mayhem, disintegrating into full-blown civil war before regressing to starvation and cannibalism
1976 Slapstick by Kurt Vonnegut – a madly disorientating story about twin freaks, a future dystopia, shrinking Chinese and communication with the afterlife
1979 The Unlimited Dream Company by J.G. Ballard – a strange combination of banality and visionary weirdness as an unhinged young man crashes his stolen plane in suburban Shepperton, and starts performing magical acts like converting the inhabitants into birds, conjuring up exotic foliage, convinced his is on a mission to liberate them
1979 Jailbird by Kurt Vonnegut – the satirical story of Walter F. Starbuck and the RAMJAC Corps run by Mary Kathleen O’Looney, a baglady from Grand Central Station, among other satirical notions including the new that Kilgore Trout, a character who recurs in most of his novels, is one of the pseudonyms of a fellow prison at the gaol where Starbuck serves a two year sentence, one Dr Robert Fender

1980s
1980 Russian Hide and Seek by Kingsley Amis – set in an England of 2035 after a) the oil has run out and b) a left-wing government left NATO and England was promptly invaded by the Russians – ‘the Pacification’, who have settled down to become a ruling class and treat the native English like 19th century serfs
1980 The Venus Hunters by J.G. Ballard – seven very early and often quite cheesy sci-fi short stories, along with a visionary satire on Vietnam (1969), and then two mature stories from the 1970s which show Ballard’s approach sliding into mannerism
1981 The Golden Age of Science Fiction edited by Kingsley Amis – 17 classic sci-fi stories from what Amis considers the ‘Golden Era’ of the genre, basically the 1950s
1981 Hello America by J.G. Ballard – a hundred years from now an environmental catastrophe has turned America into a vast, arid desert, except for west of the Rockies which has become a rainforest of Amazonian opulence, and it is here that a ragtag band of explorers from old Europe discover a psychopath has crowned himself President Manson, has revived an old nuclear power station in order to light up Las Vegas, and plays roulette in Caesar’s Palace to decide which American city to nuke next
1981 The Affirmation by Christopher Priest – an extraordinarily vivid description of a schizophrenic young man living in London who, to protect against the trauma of his actual life (father died, made redundant, girlfriend committed suicide) invents a fantasy world, the Dream Archipelago, and how it takes over his ‘real’ life
1982 Myths of the Near Future by J.G. Ballard – ten short stories showing Ballard’s range of subject matter from Second World War China to the rusting gantries of Cape Kennedy
1982 2010: Odyssey Two by Arthur C. Clarke – Heywood Floyd joins a Russian spaceship on a two-year journey to Jupiter to a) reclaim the abandoned Discovery and b) investigate the monolith on Japetus
1984 Neuromancer by William Gibson – Gibson’s stunning debut novel which establishes the ‘Sprawl’ universe, in which burnt-out cyberspace cowboy, Case, is lured by ex-hooker Molly into a mission led by ex-army colonel Armitage to penetrate the secretive corporation, Tessier-Ashpool, at the bidding of the vast and powerful artificial intelligence, Wintermute
1986 Burning Chrome by William Gibson – ten short stories, three or four set in Gibson’s ‘Sprawl’ universe, the others ranging across sci-fi possibilities, from a kind of horror story to one about a failing Russian space station
1986 Count Zero by William Gibson – second in the ‘Sprawl trilogy’
1987 2061: Odyssey Three by Arthur C. Clarke – Spaceship Galaxy is hijacked and forced to land on Europa, moon of the former Jupiter, in a ‘thriller’ notable for Clarke’s descriptions of the bizarre landscapes of Halley’s Comet and Europa
1988 Mona Lisa Overdrive by William Gibson – third of Gibson’s ‘Sprawl’ trilogy in which street-kid Mona is sold by her pimp to crooks who give her plastic surgery to make her look like global simstim star Angie Marshall, who they plan to kidnap but is herself on a quest to find her missing boyfriend, Bobby Newmark, one-time Count Zero; while the daughter of a Japanese gangster who’s sent her to London for safekeeping is abducted by Molly Millions, a lead character in Neuromancer

1990s
1990 The Difference Engine by William Gibson and Bruce Sterling – in an alternative version of history, Charles Babbage’s early computer, instead of being left as a paper theory, was actually built, drastically changing British society, so that by 1855 it is led by a party of industrialists and scientists who use databases and secret police to keep the population suppressedand secret police to repress the population

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