IMG_9512

gizmodo.com/115165/starcks-ak47

 

moralism/ethics and jgb

 

In other words, the breakdown of the formalized social order, and its replacement with one based on more ruthless, informal, spontaneously generated rules, can liberate in a certain sense, in that it permits what was previously impermissible. In Freudian terms, the id escapes the power of the superego; what results both repels and attracts. This lesson Ballard never forgot.

 

Ballard arrived in England during the austere postwar years, the austerity lengthened by government policy that saw in it an opportunity for ideologically inspired social engineering. (Even now, one occasionally senses nostalgia in medical journals for the era of rationing, which imposed a scientifically approved diet on the population.) Ballard began medical school, but dropped out after two years to become a writer. He never entirely lost his interest in medicine, however, and it is worth noting that doctors are important figures in his novels, the first of which came out in 1962.

 

All of Ballard’s novels have a Robinson Crusoe theme: What happens to man when the props of civilization are removed from him, as they so easily are, by external circumstances or by the operation of his secret desires or by both in concert? Ballard’s past gave him an awareness of the fragility of things, even when they appear most solid; and in the introduction to his collected short stories, he tells us that he is “interested in the real future that I could see approaching.” His method: extrapolate something—a trend, a feeling of dissatisfaction—that he detects in the present; magnify it; and then examine its consequences. He is a recorder of what he calls “the visionary present,” a sociological Swift who claims (half-mistakenly, I think) that he does not write with a moral purpose but instead serves as “a scout who is sent on ahead to see if the water is drinkable or not.”

 

In Ballard’s earlier novels, the decomposition of society results largely from natural processes. For example, in his debut novel, The Drowned World, the earth has undergone an extremely rapid warming. (Ballard has an uncanny ability to anticipate future anxieties.)

 

...

It is significant that Maitland is an architect, for it is the architects, with their modernist dreams of making the world anew according to implacably abstract principles, who have created the wasteland in the first place. Ballard captures the socially isolating nature of modern architecture—and the modern way of life associated with it—with great symbolic force. The taxi driver, encased in his cage of pressed steel, can see in Maitland only a lunatic with whom he shares no humanity. The other drivers have lost their ability to choose: once on the road, they must inexorably move forward. They do not control the situation; the situation controls them. What should liberate—the car, with its theoretical ability to take you anywhere you want to go, whenever you want to go—becomes dehumanizing.

 

In the same year, Ballard published his most controversial book, Crash, later made into an equally disturbing film by David Cronenberg. The book is a kind of visionary reductio ad absurdum of what Ballard sees as the lack of meaning in modern material abundance, in which erotic and violent sensationalism replace transcendent purpose: the book’s characters speed to the sites of auto accidents to seek sexual congress with the dying bodies and torn metal. Ballard’s method is Swift’s, though with a less general target. To object that Ballard exaggerates the existential predicament of the modern middle classes is to miss the point, just as to object that Swift exaggerates man’s absurdity, pretensions, and nastiness is to miss the point.

 

In his next book, High-Rise, published in 1975, Ballard sets a small civil war in a luxurious 40-story apartment building, where “the regime of trivial disputes and irritations . . . provided [the] only corporate life” of the 2,000 inhabitants. Robert Laing is a doctor who is divorced, like all of Ballard’s protagonists.

 

“This over-priced cell, slotted almost at random into the cliff face of the apartment building, he had bought after his divorce specifically for its peace, quiet and anonymity,” Ballard writes. It seems to be part of the modern condition that people find difficulty in living together, preferring an isolation in which human contact becomes superficial, fleeting, and primarily instrumental to immediate needs or desires.

 

Where people have few affective ties but nonetheless live together in close proximity, the potential for conflict is great. Though all the residents are well-heeled, a version of class war breaks out in the high-rise, pitting the residents of the upper floors, who have paid the most for their apartments, against those of the lower floors. Boredom and a lack of common purpose provoke aggression, and self-destruction follows. Prosperity is not enough.

 

...

If anything, Ballard’s vision has darkened. Twenty years after High-Rise, prosperity had increased enormously, and Ballard published Cocaine Nights, an attack on the very idea of the good life engendered by British consumer society. The novel is set in imaginary rich expatriate enclaves on the Spanish Mediterranean coast, towns “without either centre or suburbs, that seem to be little more than dispersal ground for golf courses and swimming pools.” As one character says, “It’s Europe’s future. Everywhere will be like this soon.”

 

The utter vacuity of the abundant life that the inhabitants have worked to achieve, enabling them to retire before 50, is reflected in the enclaves’ architecture and social atmosphere. “I looked down on an endless terrain of picture windows, patios and miniature pools,” relates the protagonist, a travel writer:

 

Together they had a curiously calming effect, as if these residential compounds were a series of psychological pens that soothed and domesticated. . . . Nothing could ever happen in this affectless realm, where entropic drift calmed the surfaces of a thousand swimming pools.

Everywhere satellite dishes cupped the sky like begging bowls. The residents had retreated to their shady lounges, their bunkers with a view, needing only that part of the external world that was distilled from the sky by their satellite dishes.

The residents are refugees from a disordered world: “There’s excellent security and not a trace of graffiti anywhere—most people’s idea of paradise today.” Freed from economic anxiety, they are also “refugees from time”: in fact, they have “travelled to the far side of boredom” and are now “desperate for new vices.”

 

A young tennis coach, Crawford, responsible for arranging the social life of the enclaves, hits on the idea of crime as the solution to the prevailing boredom. Unknowingly, he recapitulates sociologist Emil Durkheim’s view that criminals fulfill an important social function by providing the rest of the population with a cause for solidarity: for one can exercise solidarity only against something and somebody else. “How do you energize people, give them some sense of community?” Crawford asks. Politics is boring, religion too demanding. “Only one thing is left which can rouse people, threaten them directly and force them to act together. . . . Crime and transgressive behaviour. [They] provoke us and tap our need for strong emotion, quicken the nervous system and jump the synapses deadened by leisure and inaction.” His conclusion: “A certain level of crime is part of the necessary roughage of life. Total security is a disease of deprivation.”

 

By arranging for crimes to be committed at random, including a deliberate fire that kills five, Crawford brings the enclaves back to life, including cultural life. The residents start to play music and participate in theater productions. Instead of living in solipsistic isolation, they now meet regularly. Ballard is not suggesting that the immolation of people is a worthwhile price if only people take to the violin and footlights as a result. He is suggesting that, absent a transcendent purpose, material affluence is not sufficient—and may lead to boredom, perversity, and self-destruction.

 

In his two most recent novels, Millennium People and Kingdom Come, Ballard treats England as a country gripped by a consumerist fever, half-aware that something more is necessary to lead a bearable human life, and thus vulnerable to an inchoate revolutionism whose inspiration is part fascist, part socialist. The books’ characters are, as usual in Ballard, educated and middle class; no member of the underclass ever appears in his pages. This is not accidental. It is the educated class that is essential to running the country and that sets its moral tone; but “sheltered by benevolent shopping malls,” Ballard writes in Kingdom Come, it “waits patiently for the nightmares that will wake [it] into a more passionate world.” Believing in nothing, sated materially, it is capable of anything to escape boredom.

 

This represents an important insight. When I briefly served as a kind of vulgarity correspondent for a British newspaper—it sent me anywhere the British gathered to behave badly—I discovered to my surprise that the middle classes behaved in crowds with the same menacing disinhibition as their supposed social and educational inferiors. They swore and screamed abuse and made fascistic gestures and urinated in the street with the same abandon that they attributed to the proletarians. It was Ballard who first spotted that the bourgeoisie wanted to proletarianize itself without losing its economic privileges or political power.

 

In Millennium People, the residents of an affluent housing project called Chelsea Marina “had set about dismantling their middle-class world. They lit bonfires of books and paintings, educational toys and videos. . . . They had quietly discarded their world as if putting out their rubbish for collection. All over England an entire professional caste was rejecting everything it had worked so hard to secure.”

 

This strikes me as a suggestive metaphor for much that has happened over the last four decades, not only in England (though especially here) but also throughout parts of Western society. We have become bored with what we have inherited, to which, for lack of talent, we have contributed so humiliatingly little. Ballard understands why educated people, haunted by the pointlessness of their lives, feel the need to protest, and he satirizes it in Millennium People. The book’s protagonist, a psychologist, infiltrates the growing middle-class revolutionary movement and attends a protest against a cat show in a London exhibition hall with Angela, a revolutionary:

 

Angela stared across the road with narrowed eyes and all a suburbanite’s capacity for moral outrage. Walking around the exhibition two hours earlier, I was impressed by her unswerving commitment to the welfare of these luxurious pets. The protest rallies I had recently attended against globalisation, nuclear power and the World Bank were violent but well thought out. By contrast, this demonstration seemed endearingly Quixotic in its detachment from reality. I tried to point this out to Angela as we strolled along the line of cages.

“Angela, they look so happy. . . . They’re wonderfully cared for. We’re trying to rescue them from heaven.”

Angela never varied her step. “How do you know?”

“Just watch them.” We stopped in front of a row of Abyssinians so deeply immersed in the luxury of being themselves that they barely noticed the admiring crowds. “They’re not exactly unhappy. They’d be prowling around, trying to get out of the cages.”

“They’re drugged.” Angela’s brows knotted. “No living creature should be caged. This isn’t a cat show, it’s a concentration camp.”

“Still, they are rather gorgeous.”

“They’re bred for death, not life. The rest of the litter are drowned at birth. It’s a vicious eugenic experiment, the sort of thing Dr. Mengele got up to.”

The press recently ran obituaries of Peter Cadogan, whom one paper called a “professional protester.” Another wrote that Cadogan “spent fifty years on a long quest of resistance to global injustices.” He appeared inseparable from a megaphone, and no man would have been more disappointed to wake one day to a world denuded of injustice. Apparently, someone read the protest poems of William Blake to him on his deathbed, and these roused him temporarily from a coma. Protest was the meaning of his life. His dying words evoked Blake: “Live differently.” Not better, but differently.

 

This mind-set can result in the violence from which, as Ballard discovered early in life, we are always but a hairbreadth away, however solidly founded our comfort may seem. Civilization’s fragility does not make it unreal or valueless—quite the reverse. And while I suspect that Ballard would dislike seeing conservative implications drawn from his work, they are most certainly there.

 

Theodore Dalrymple, a physician, is a contributing editor of City Journal and the Dietrich Weismann Fellow at the Manhattan Institute.

 

 

dalrymple - city mag: a moralist reading ballard

 

now compare to waxman: a doctor friend reading ballard:

(the reality - the books - the writer)

(our bleak society - literary representations of that - the man himself completely unscathed by our bleak society, while thoroughly engaged with it..?)

 

He was a “Jimmy”, a surprisingly sweet name for a man of such seeming austerity. Although this austerity seemed to be part of the public persona, this view had no origin in fact. He was a man of warmth and love, and a man who himself inspired great love. I was a witness to the affection that people had for him and the tenderness that came to him from his partner Claire and his children.

 

Perhaps many will not be able to credit that a man who imagined gangs of bored people indulging in random violence (Super Cannes) or protagonists having sex in smashed-up cars (Crash) could be described as a gentle man who inspired great affection. But that is to focus too much on his dystopian writings rather than taking into account his polymathic range - a range that encompassed everything from genre fiction to his most traditional novel, Empire of the Sun.

 

The occasional brutality of his work was not a reflection of a dark personality. They were instead the fruit of a man who lived the life of the mind to the full, who had a knack of looking at the world in a different way and asking “what if?”. What if, as he imagined in Millennium People, the middle-classes rose up in a tax rebellion?

 

Though Jimmy had an original mind he was utterly conventional on the surface. He was like any man of his time and upper-middle class upbringing, right down to his tweed jacket and reserved, polite manner.

 

He was also generous, a great supporter of all who came into his life.

 

....

 

baLLArdian.com

 

‘Content in their little prisons’: J.G. Ballard on ‘The Towers’

Author: Dan OHara • Nov 21st, 2008 •

 

Category: France, Lead Story, architecture, archival, crime, technology, urban decay

 

 

 

L’ile de béton (Concrete Island), French edition, Calman-Lévy (1974). Thanks to Herve for the scan.

 

 

--------------------------------------------------------------------------------

 

Interview by Philippe R. Hupp.

 

Translation by Dan O’Hara.

 

 

--------------------------------------------------------------------------------

 

Ballard’s novels have always been translated into French with alacrity. His 1974 novel, Concrete Island, was already in translation in time for review in the January 1975 edition of the major Paris literary organ Magazine Littéraire, and Antoine Griset’s review was both penetrating and positive. Griset immediately connected the predicament of Ballard’s protagonist, stranded on an urban desert island between motorway intersections, with the extremes of social inequality within our society.

 

‘The image or the idea of a man dying of hunger only a step away from a haven of abundance is tragically familiar’, Griset writes, noting how absurd it is that such distress has become a banal commonplace. Whilst admiring the ‘immense talent’ of Ballard in transforming a vague, banal terrain into a hallucinatory hell — a feat also achieved in Crash — Griset observes that although Concrete Island may be a continuation of the earlier novel, this time the automobile is a mere symbolic pretext for an examination of the flip-side of our ordered, automated, aseptic lifestyle.

 

Griset sees the real focus of Concrete Island as being on the flotsam of urban Man Fridays (or should that be ‘Men Friday’?) living in the interstices of modern cities: the invisible masses we observe daily from behind the safety of the windscreen or the office window. In the novel Maitland, an affluent architect who crosses this invisible barrier, decides to remain on the concrete island, having triumphed over its obstinate vagrants. Yet Griset suggests that, if the Maitland who first arrived on the island dies and is transformed into a new, stronger version of himself, he also remains afraid to recognize his own true nature. In a brilliant insight into Ballard’s metafictional method, Griset implies that this transformation of the protagonist is intended to provoke a similar transformation in the reader. Concrete Island is less concerned with awakening a new moral knowledge than with demonstrating the ways in which the mirror-world of own native brutality is just on the other side of the windscreen.

 

The following brief interview was printed alongside Griset’s review. Mostly concerned with the novel he was then in the early stages of writing, High-Rise, it does however contain an intriguing reference to Ballard conducting research on the relation between criminal behaviour and the urban environment. Whatever the sources of this research might have been, it seems that it started a line of enquiry which became a central topos of his writing, leading from Concrete Island through High Rise to Running Wild and the loose tetralogy bookended by Cocaine Nights and Kingdom Come.

 

Dan O’Hara

 

 

--------------------------------------------------------------------------------

 

PHILIPPE R. HUPP: You’re in the process of writing a new novel called The Towers…

 

JGB: In fact I still haven’t found a title. It’s a book about what in England and the USA are called ‘high-rises’, these residential towers which can have forty or fifty floors or more. I saw a film about Poland last week, in which one complex of apartments had twenty floors and was a kilometre in length! I’ve been interested for several years now in new lifestyles which permit modern technology; skyscrapers have always attracted me. The life led there seems to me very abstract, and that’s an aspect of setting with which I’m concerned when I write — the technological landscape.

 

Have you read The World Inside by Robert Silverberg? It’s a novel in which people live in groups of 800 thousand in vertical cities. And Silverberg, instead of simply planting the people of today in a futuristic setting, is concerned with showing how their mentality and their social life would be affected.

 

I haven’t read that book, but what interests me is the present. I don’t want to extrapolate too far – there’s the risk of becoming detached from reality. Although I did write a story a few years ago, ‘Build up’, in which one city occupied the entire universe. It’s a quite fascinating subject.

 

You’ve already examined housing schemes?

 

I did research before sitting down to write. For example, in cities, the degree of criminality is affected by liberty of movement; it’s higher in culs-de-sac. And high-rises are culs-de-sac: two thousand people jammed together in the air…

 

Entirely isolated.

 

Cut off from the rest of the world. In this kind of situation, all sorts can happen. Above all I’d like to examine the psychological modifications which occur without the knowledge of the inhabitants themselves, to see to what degree the mind of someone who drives a car or lives in a concrete high-rise has been altered. In the course of my investigations, I observed that there now exists a new race of people who are content in their little prisons, who tolerate a very high level of noise, but for whom the apartment is nothing more than a base allowing them to pass the night in comfort, as they’re absent during the day.

 

Will this new novel be as symbolic as Crash and Concrete Island?

 

I think it will be in the same vein, although this time I’m no longer concentrating on one single character.

 

And after that, will you further continue your series on the ‘technological landscape’?

 

No. I don’t have an idea for a novel, but I’d very much like to write several stories that I haven’t had the time to write these last few years. And it’s been a long time since I’ve written anything in the way of imaginative narratives, romances…

 

 

 

I.G.H. (High-Rise), French edition, Calmann-Levy, Dimensions SF (1976). Thanks to Herve for the scan.

 

 

--------------------------------------------------------------------------------

 

Originally published in French as ‘Entretien avec J. G. Ballard’, Magazine Littéraire 96 (January 1975), 54.

 

 

--------------------------------------------------------------------------------

 

Author: Dan OHara

 

Find all posts by Dan OHara

Older: « 'Strangest Living Atrocities': Guy Peellaert, 1934-2008

Newer: Eternal Layover »

2 Responses »

Rick McGrath on November 24th, 2008 at 1:00 am:

 

Great one, Dan… thanks!

 

Clearing the tabs on November 27th, 2008 at 8:16 pm:

 

[...] Ballardian » ‘Content in their little prisons’: J.G. Ballard on ‘The Towers’ "For example, in cities, the degree of criminality is affected by liberty of movement; it’s higher in culs-de-sac. And high-rises are culs-de-sac: two thousand people jammed together in the air…" (tags: Ballardian Ballard architecture highrise interview urbanism crime) [...]

 

 

 

Done