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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The great sun beating in his mind almost drowned out the sounds of the looting and revelry, the roars of explosives and shotguns. Like a blind man he stumbled in and out of the old arcades and entrances, his white dinner Suit stained and grimy, jeered at by the sailors as they charged by him, playfully buffeting his shoulders. At midnight he would wander through the roistering singers in the square and sit beside Strangman at his parties, hiding back under the shadow of the paddle-ship, watching the dancing and listening to the beat of the drums and guitars, overlayed in his mind by the insistent pounding of the black sun.

He abandoned any attempt to return to the hotel-the creek was blocked by the two pumping scows and the intervening lagoon seethed with alligators-and during the day either slept in Beatrice's apartment on the sofa or sat numbly in a quiet alcove on the gaming deck 0f the depot ship. Most of the crew would be asleep among the crates or arguing over their spoils, waiting with surly impatience for the dusk, and they left him alone. By an inversion of logic it was safer to stay close to Strangman than to try to continue his previous separate regimen. Bodkin attempted this, withdrawing in a growing state of shock to the testing station-now reached by a precipitous climb up a dilapidated fire escape-but on one of his midnight forays out into the streets of the university quarter behind the planetarium he had been seized by a group of sailors and roughly manhandled. By attaching himself to Strangman's entourage Kerans had at last conceded his absolute authority over the lagoons.

Once he managed to force himself to visit Bodkin, found him resting quietly in his bunk, cooled by a homemade fan and the fading air-conditioner. Like himself, Bodkin seemed to be isolated on a small spur of reality in the centre of the time sea.

"Robert," he murmured through his swollen lips, "get away from here. Take her, the girl-" here he searched for the name "-Beatrice, and find another lagoon."

Kerans nodded, hunching himself inside the narrow cone of cool air projected by the air-conditioner. "I know, Alan, Strangman's insane and dangerous, but for some reason I can't leave yet. I don't know why, but there's something here-those naked streets." He gave up cloudily. "What is it? There's a strange incubus on my mind, I must lift it first."

Bodkin managed to sit up weakly. "Kerans, listen. Take her and go. Tonight. Time doesn't exist here now."

In the laboratory below a pallid brown scum was draped over the great semi-circle of progress charts, Bodkin's dismembered neuronic zodiac, and veiled the stranded benches and fume cupboards. Kerans made a half-hearted attempt to replace the charts that had fallen to the floor, then gave up and spent the next hour washing his silk dinner jacket in a pool of water left behind in one of the sinks.

Perhaps in imitation of himself, several of the crew now also sported tuxedos and black ties. A pantechnicon full of evening wear sealed inside water-tight envelopes had been found in one of the warehouses. Egged on by Strangman, half a dozen of the sailors dressed themselves up, bow ties around their bare necks, and pranced through the streets in tremendous glee, tails flaring and knees high-kicking, like a troupe of lunatic waiters at a dervish carnival.

After the initial abandon, the looting began to take on a more serious note. Whatever his private reasons, Strangman was solely interested in objets d'art, and after a careful reconnaissance identified one of the city's principal museums. But, to his annoyance, the building had been stripped, and his only salvage was a large mosaic which his men removed tile by tile from the entrance hail and laid out like a vast jig-saw on the observation deck of the depot ship.

This disappointment prompted Kerans to warn Bodkin that Strangman might try to vent his spleen on him, but when he climbed up to the testing station early the next evening he found that Bodkin had gone. The air-conditioner had exhausted its fuel, and Bodkin, deliberately it seemed, had opened the windows before he left, so that the entire station steamed like a cauldron.

Curiously, Bodkin's disappearance gave Kerans little concern. Immersed in himself, he merely assumed that the biologist had followed his own advice and moved out to one of the lagoons to the south.

Beatrice, however, was still there. Like Kerans, she had sunk into a private reverie. Kerans rarely saw her during the day, when she would be locked into her bedroom, but at midnight, when it became cool, she would always come down from her penthouse among the stars and join Strangman at his parties. She sat numbly beside him in her blue evening dress, her hair studded with three or four of the tiaras Strangman had looted from the old jewellery vaults, her breasts smothered under a mass of glittering chains and crescents, like a mad queen in a horror drama.

Strangman treated her with a strange deference, not unmarked by a polite hostility, almost as if she were a tribal totem, a deity whose power was responsible for their continued good fortune but nonetheless resented. Kerans tried to stay near her, within her orbit of protection, and the evening after Bodkin's disappearance leaned across the cushions to say: "Alan's gone. Old Bodkin. Did he see you before he left?"

But Beatrice stared out over the fires burning in the square, without looking at him said in a vague voice: "Listen to the drumming, Robert. How many suns are there, do you think?"

Wilder now than Kerans had ever seen him, Strangman danced about the camp fires, sometimes forcing Kerans to join him, inciting the bongo drummers to ever faster rhythms. Then, exhausted, he would slump back on his divan, his thin white face like blue chalk.

Leaning on one elbow, he stared sombrely at Kerans, squatting on a cushion behind him.

"Do you know why they fear me, Kerans? The Admiral, Big Caesar and the others. Let me tell you my secret." Then, in a whisper: "Because they think I'm dead."

In a spasm of laughter, he rocked back into the divan, shaking helplessly. "Oh, my God, Kerans! What's the matter with you two. Come out of that trance." He looked up as Big Caesar approached, doffing the dried alligator's head which he wore like a hood over his own. "Yes, what is it? A special song for Doctor Kerans? Capital! Did you hear that, Doctor? Let's go then, with _The Ballad of Mistah Bones!_"

Clearing his throat, with much prancing and gesticulation, the big negro began, his voice deep and guttural.

"Mistah Bones, he loves dried men,
Got himself a banana girl; three prophets sly,
She played him all crazy, drowned him in the snake wine,
Never heard so many swamp birds,
That old boss alligator.

Rum Bones, he went skull fishing,
Down off Angel Creek, where the dried men run,
Took out his turtle stone, waited for the chapel boat,
Three prophets landing,
Some bad joss.

Rum Bones, he saw the loving girl,
Gave his turtle stone for two bananas,
He had that banana girl like a hot mangrove;
Prophets saw him,
No dried men coming for Rum Bones.

Rum Bones, he danced for that loving girl,
Built a banana house for her loving bed-"

With a sudden shout, Strangman leapt from the divan, raced past Big Caesar into the centre of the square, pointing up at the perimeter wall of the lagoon high above them. Outlined against the setting sky was the small square figure of Dr. Bodkin, picking his way slowly across the wooden barrage that held back the creek waters outside. Unaware that he had been spotted by the party below, he carried a small wooden box in one hand, a faint light fizzing from a trailing wire.

Wide awake, Strangman bellowed: "Admiral, Big Caesar! Get him, he's got a bomb!"

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