J. Ballard - The Drowned World

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The Drowned World: краткое содержание, описание и аннотация

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J.G. Ballard is best-known, perhaps, for his autobiographical non-genre novel Empire of the Sun. While he has written other non-genre works, the bulk of his writing is science fictional-more or less. Ballard is a writer who defies easy categorization: even his most speculative books can't be fitted neatly with a genre label, and his non-genre works all contain fantastical and speculative elements.
The Drowned World (brought back into print by Millenium's SF Masterworks line) was Ballard's first major published novel. For Ballard enthusiasts, it's a fascinating read, for it prefigures many of the themes that pervade his subsequent books: planetary/ecological disaster, entropy, the devolution of human nature, a preoccupation with the roots of violence. For those who aren't familiar with Ballard, it's a good introduction-more accessible and less transgressive than some of his later work, yet full of the arresting surrealism and hallucinatory brilliance of language that are hallmarks of his writing.
The Drowned World posits (presciently, as it turns out) that the world has been overwhelmed by a catastrophic greenhouse effect. It differs from our own impending disaster in that it's natural rather than man-made. In Ballard's scenario, violent solar storms have depleted the outer layers of Earth's ionosphere; as these vanish, temperature and solar radiation begin to climb, melting the polar ice-caps. This enormous outflow of water carries with it tons of topsoil, damming up the oceans and entirely changing the contours of the continents, drowning some parts of the world and landlocking others. At the same time, the increased radiation produces freak mutations in Earth's flora and fauna, initiating a new biological era reminiscent of the Triassic period, in which reptiles and giant tropical plants were the dominant forms of life.
The harsh environment and a decline in mammalian fertility have drastically reduced the world's human population. Still, life goes on, including survey expeditions sent out to map inundated areas for possible reclamation. The novel focuses on one of these expeditions, which for several years has been exploring the series of giant lagoons that used to be Europe. The expedition's personnel have been at it so long that the activity has ceased to mean very much; daily, they sink deeper into lassitude and indifference. Also, some of them have begun having strange dreams, of a primeval swamp dominated by a huge burning sun that pulses to the rhythm of their own heartbeats.
These dreams, it turns out, aren't random occurrences or signs of stress, but the first warning of a much deeper process. Human beings, responding to stimuli embedded in their genetic makeup billions of years earlier, are beginning to devolve. The dreams aren't dreams at all, but memories of the primeval ooze from which life first emerged. As the Earth is moving back through geophysical time, the dreamers are moving back through "archaeopsychic" time, recapitulating in reverse each of the stages of human evolution. Is this an odyssey toward a new Garden of Eden? Or does it presage the extinction of humankind?
In some ways, The Drowned World is not a very satisfactory novel. It's episodic and rather slow, and its various parts don't always seem to mesh. Starting as a biological mystery, it veers suddenly into a bizarre Heart of Darkness scenario, complete with a mad white hunter and his hordes of native soldiers, and then returns with equal abruptness to the speculative concerns of the beginning. Too, Ballard is more concerned with setting and atmosphere than with character and verisimilitude. The protagonist, Kerans, is a cipher; many of the other characters are the merest sketches. The logistical issues that most speculative fiction writers toil over-where the expedition gets food, for instance, or how it purifies water-are never addressed.
Yet Ballard's vision of planetary and psychic change, as well as his brilliant descriptions of the altered earth, possess a surreal consistency that lifts The Drowned World beyond its structural peculiarities, making it a work of real power. One can feel the heat, see the jungles spilling over the roofs of the inundated hotels and apartment buildings, hear the screams of the iguanas and the giant bats. These oppressive, hypnotic images have the solidity of something very deeply conceived; they seize the reader's imagination in the same way that the devolutionary dreams seize the psyches of the book's characters. Perhaps it's no accident that these characters and their struggles seem shadowy by comparison to the vivid landscape in which they move. This is part of Ballard's message: humankind is impermanent, but time and nature endure.

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But before Kerans could press him a megaphone jabbed at them across the water from the bridge of the depot ship.

Strangman met each one of his guests as they arrived at the head of the gangway. In high spirits, he managed a sustained mood of charm and good cheer, complimenting Beatrice elaborately on her appearance. She wore a full-length blue brocade ball dress, the turquoise mascara around her eyes making her look like some exotic bird of paradise. Even Bodkin had contrived to trim his beard and salvage a respectable linen jacket, an old piece of crepe around his neck a ragged concession to a black tie. Like Kerans, however, they both seemed glazed and remote, joining in the conversation over dinner automatically.

Strangman, however, failed to notice this, or if he did was too elated and preoccupied to care. Whatever his motives, he had obviously gone to considerable trouble to stage his surprise. A fresh canvas awning had been broken out like a crisp white sail over the observation deck, flared at its rim in the form of an inverted marquee to give them an uninterrupted view over the lagoon and sky. A large circular dining table stood by the rail, iow divans in the Egyptian style, with spiral gilt and ivory bolsters, disposed around it. A cIut ter of unmatched but nonetheless brilliant pieces of gold and silver dining plate decorated the table, much of it of huge proportions-. the ormolu finger-bowls were the size of face baths.

Strangman had rifled his treasure house below in an access of profligacy-several pieces of blackened bronze statuary stood about behind the table bearing salvers of fruit and orchids, and an immense canvas by some painter of the school of Tintoretto had been propped against the funnels and screened the service hatches, looming down over the table like a mural. Its title was 'The Marriage of Ester and King Xerxes' but the pagan treatment and the local background of the Venetian lagoon and the Grand Canal palazzos, coupled with the Quincento decor and costume, made it seem more like 'The Marriage of Neptune and Minerva,' no doubt the moral Strangman intended to point. King Xerxes, a wily, beak-nosed elderly Doge or Venetian Grand-Admiral, already seemed completely tamed by his demure, raven-haired Ester, who had a faint but nonetheless perceptible likeness to Beatrice. As he cast his eyes over the crowded spread of the canvas with its hundreds of wedding guests, Kerans suddenly saw another familiar profile-the face of Strangman among the hard cruel smiles of the Council of Ten-but when he approached the painting the similarity vanished.

The marriage ceremony was being celebrated aboard a galleon moored against the Doge's Palace, and its elaborate rococo rigging seemed to merge directly into the steel hawzers and bracing lines of the depot ship. Apart from the kindred settings, emphasised by the two lagoons and the buildings rising from the water, Strangman's motley crew might themselves have stepped straight from the canvas, with its jewelled slaves and negro captain of gondoliers.

Sipping his cocktail, Kerans said to Beatrice: "Do you see yourself there, Bea? Obviously, Strangman hopes you'll subdue the floodwaters with the same skill Ester used to pacify the King."

"Correct, Kerans!" Strangman stepped over to them from the bridge. "You have it exactly." He bowed to Beatrice. "I hope you accept the compliment, my dear?"

"I'm very flattered, Strangman, of course." Beatrice moved over to the painting, examining her double, then turned in a swirl of brocade and stood by the rail, staring out over the water. "But I'm not sure whether I want to be cast in that role, Strangman."

"But you are, Miss DahI, inescapably." Strangman gestured the steward over to Bodkin, who was sitting in a quiet reverie, then slapped Kerans on the shoulder. "Believe me, Doctor, you'll soon see-"

"Good. I'm getting a little impatient, Strangman."

"What, after thirty million years you can't wait five minutes? I'm obviously bringing you back to the present."

Throughout the meal Strangman supervised the succession of wines, taking advantage of his absences from the table to confer with the Admiral. With the final brandies before them, Strangman sat down apparently for the last time, winking broadly at Kerans. Two of the scows had moved over to the inlet by the far side of the lagoon and disappeared into its mouth, while the third took up its position in the centre, from where it released a small firework display.

The last sunlight still lay over the water, but had faded sufficiently for the bright catherine wheels and rockets to flicker and dazzle, their sharp explosions etched clearly against the tinted crepuscular sky. The smile on Strangman's face grew broader and broader, until he lay back on his chesterfield grinning soundlessly to himself, the red and green flashes illuminating his saturnine features.

Uncomfortably, Kerans leaned forward to ask him when their surprise would materialise, but Strangman anticipated him.

"Well, haven't you noticed?" He glanced around the table. "Beatrice? Dr. Bodkin? You three are slow. Come out of deep time for a moment."

A curious silence hung over the ship, and involuntarily Kerans leaned against the rail to brace himself in case Strangman was about to set off an underwater explosive charge. Glancing down at the deck below, he suddenly saw the twenty or thirty members of the crew, looking motionlessly at the lagoon, their ebony faces and white singlets flickering with the ghostly light, like the crew of a spectral ship.

Puzzled, Kerans searched the sky and lagoon. The dusk had come in rather more quickly than he expected, the curtain walls of the buildings opposite sinking into shadow. At the same time the sky remained clear and visible in the sunset, the tops of the surrounding vegetation brilliantly tinted.

A low drumming sounded somewhere in the distance, the airpumps which had worked all day and whose noise had been masked by the pyrotechnic display. Around the ship the water had become strangely slack and lifeless, the low swells that usually disturbed it absent. Wondering whether an exhibition of underwater swimming had been arranged for a troupe of trained alligators, he peered down at the surface.

"Alan! Look, for heaven's sake! Beatrice, can you see?" Kerans kicked back his chair and leapt to the rail, pointing down in amazement at the water. "The level is going down!"

Looming just below the dark pellucid surface were the dim rectangular outlines of the submerged buildings, their open windows like empty eyes in enormous drowned skulls. Only a few feet from the surface, they drew closer, emerging from the depths like an immense intact Atlantis. First a dozen, then a score of buildings appeared to view, their cornices and fire escapes clearly visible through the thinning refracting glass of the water. Most of them were only four or five storeys high, part of a district of small shops and offices enclosed by the taller buildings that had formed the perimeter of the lagoon.

Fifty yards away the first of the roofs broke surface, a blunted rectangle smothered with weeds and algae, across which slithered a few desperate fish. Immediately half a dozen others appeared around it, already roughly delineating a narrow street. The upper line of windows emerged, water spilling from their ledges, fucus draped from the straggling wires that sagged across the roadways.

Already the lagoon had vanished. As they sank slowly downwards, settling into what seemed to be a large open square, they were now looking across a diffuse straggle of rooftops, punctuated by eroded chimneys and spires, the flat sheet of the surface transformed into a jungle of cubist blocks, at its boundaries merging into the higher ground of the enveloping vegetation. What remained of the water had formed into distinct channels, dark and sombre, eddying away around corners and into narrow alleyways.

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