J.G. Ballard - Super-Cannes

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Super-Cannes – a Sunday Times bestseller in hardback – was the winner of the 2001 Commonwealth Writers Prize for the Eurasian region.
'Sublime: an elegant, elaborate trap of a novel, which reads as a companion piece to Cocaine Nights but takes ideas from that novel and runs further. The first essential novel of the 21st century.'
– Nicholas Royle, Independent
'Possibly his greatest book. Super-Cannes is both a novel of ideas and a compelling thriller that will keep you turning the pages to the shocking denouement. Only Ballard could have produced it.'
– Simon Hinde, Sunday Express
'In this tautly paced thriller he brilliantly details how man's darker side derails a vast experiment in living, and shows the dangers of a near-future in which going mad is the only way of staying sane.'
– Charlotte Mosley, Daily Mail
'Vintage Ballard, a gripping blend of stylised thriller and fantastic imaginings.'
– Alex Clark, Guardian
'Ballard at his best. Truly superb: the best book he has written. The story achieves the optimum balance of perfectly wrought lucid thriller-writing with formidable and pervasive intelligence.'
– Edward Docx, Daily Express
'Like watching a slow-motion action replay of a spectacular collision, you can't take your eyes away from Super-Cannes.'
– Mike Pattenden, The Times
'Super-Cannes is one of those novels whose last 100 pages you turn over faster and faster, wanting hundreds more: One peels this novel like an onion. Halfway through, I thought I could see the denouement. Three-quarters of the way through, something quite different seemed to be looming up. I have to say that the ending eluded and amazed me. As Ballard always amazes.'
– John Sutherland, Sunday Times
'Ballard's extraordinary new novel reads like a survival manual for the new century: There is a peculiar Englishness that manifests itself in exploration of the exotic, and J. G. Ballard is the most exotic author of all. Super-Cannes is a gleaming, tooled-up taste of tomorrow, beguiling, subversive and so appropriate to the mood of the new century that it feels like a survival handbook; it might just save your life.'
– Christopher Fowler, Independent on Sunday
'A magical hybrid that belongs to no known genre, a masterpiece of the surrealist imagination, Super-Cannes is another triumph by Britain 's most uncompromisingly contemporary novelist.'
John Gray, New Statesman
'J. G. Ballard is the Dr Moreau of British fiction, creator of controlled environments and out-of-control dystopias: More than any other writer Ballard understands the transformation technology may effect on human desire. This is his most potent statement yet of the outcome of that transformation, an elegant nightmare with all the internal coherence of an Escher engraving or a Calvino fable: Ballard unravels the secrets of his post-industrial Elysium with panache, leading us into a society which is both an exaggerated parable for our times and a chill piece of futurology: compelling.'
– Tim Adams, Observer
'With this sharply focused novel, Ballard takes a long sniper's look at the mirror-walled corporate dream, and then shatters it.'
– Helen Brown, Daily Telegraph
'Ballard remains that very rare thing, an original. He is undoubtedly the most exciting of contemporary novelists.
His genius lies in the mood he creates and his often dazzlingly surreal images. Super-Cannes possesses a relentless energy and an atmosphere of calculated corruption: the chilling narrative succeeds as an apocalyptic comment on modern society's inhuman dance of death.'
– Eileen Battersby, Irish Times
'Tainted idylls have always been J. G. Ballard's fictional speciality. With Super-Cannes, he dreams up one of his most memorable. Electrifyingly vivid prose and a storyline alive with shocks power a novel that casts lurid light on an exclusive Riviera enclave of the technological ©lite.'
– Peter Kemp, Sunday Times
'For those who know his work, the familiar pleasures are all present: fecund ideas, the disquieting poetry of his imagery and a strong spine of narrative. For first-timers, the ride begins here. Much writing is touted as essential; little, however, can claim any such distillation of its times. Ballard's is the real thing.'
– Gareth Evans, Time Out
'A dark and incendiary thriller, doing to the gated community and business park what Bram Stoker did for the Transylvanian castle.'
– S. B. Kelly, Scotland on Sunday
'He continues to produce the most trenchant and effective critique of the era and remains the most important contemporary British writer.' Will Self, Independent 'The storyline of intrigue and manipulation sees Ballard's devious imagination on tiptop form. Pacy, intelligent and accessible – one of his most enjoyable books ever, a pageturner that is also a novel of ideas.'
– David Profumo, Literary Review
'One of our strangest and most brilliant novelists. A new novel from Ballard is a literary event to make the heart jolt with uneasy expectation. Super-Cannes, super-saturated with Ballard iconography, is one of the first novels to gaze unflinchingly at the new millennium.'
– Catherine Lockerbie, Scotsman
'Super-Cannes is prime Ballard – weighty, potent and extraordinary.'
– John Preston, Evening Standard
'Ballard just gets hipper and hipper.'
– Guardian

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'Madame Delage? Can I help?'

She turned, recognizing me with an effort. Usually we saw each other when we were both half-naked, she on her balcony and I beside the pool. Clothed, we became actors appearing in under-rehearsed roles. For some reason my tweed sports jacket and leather-thong sandals seemed to unnerve her.

'Mr Sinclair? The car, it's… not correct.'

'A shame. When did it happen?'

'Last night. Alain drove back from Cannes. Some taxi driver, a Maghrebian… he suddenly swerved. They smoke kief, you know.'

'On duty? I hope not. I've seen quite a few damaged cars here.' I pointed across the peaceful avenue. 'The Franklyns, opposite. Your neighbour, Dr Schmidt. Do you think they're targeted?'

'No. Why?' Uncomfortable in my presence, she hunted in her bag for a mobile phone. 'I need to call a taxi.'

'You can drive the car.' Trying to calm her, I took the phone from her surprisingly soft hand. 'The damage is superficial. Once you close the door you won't notice it.'

'I will, Mr Sinclair. I'm very conscious of these things. I have a meeting at the Merck building in fifteen minutes.'

'If you wait for a taxi you'll be late. I'm leaving now for Cannes. Why don't I give you a lift?'

Madame Delage surveyed me as if I had offered my services as the family butler. My exposed big toes unsettled her, flexing priapically among the unswept leaves. She relaxed a little as she slid into the leather and walnut interior of the Jaguar. Unable to disguise her thighs in the cramped front seat, she beamed at me pluckily.

'It's quite an adventure,' she told me. 'Like stepping into a Magritte…'

'He would have liked this car.'

'I'm sure. It's really a plane. Good, it goes.'

The carburettors had risen to the occasion. I reversed into the avenue, dominating the gearbox with a display of sheer will. 'It's kind of your husband to give Jane a lift to the clinic.'

'It's nothing. Already we're very fond of her.'

'I'm glad. She's talked about getting a small motorcycle.'

'Jane?' Madame Delage smiled at this. 'She's so sweet. We love to hear her talk. So many schoolgirl ideas. Look after her, Mr Sinclair.'

'I try to. So far, she's been very happy here. Almost too happy – she's totally involved with her work.'

'Work, yes. But pleasure, too? That's important, especially at Eden-Olympia.' For all her armoured glamour, Simone Delage became almost maternal when she spoke of Jane. Her eyes followed the road towards the Merck building, but she was clearly thinking of Jane. 'You must tell her to relax. Work at Eden-Olympia is the eighth deadly sin. It's essential to find amusements.'

'Sports? Swimming? Gym?'

Madame Delage shuddered discreetly, as if I had mentioned certain obscure bodily functions. 'Not for Jane. All that panting and sweat? Her body would become…'

'Too muscular? Would it matter?'

'For Jane? Of course. She must find something that fulfils her. Everything is here at Eden-Olympia.'

I stopped under the glass proscenium of the Merck building, an aluminium-sheathed basilica that housed the pharmaceutical company, an architect's offices and several merchant banks. Simone Delage waited until I walked around the car, as if opening the Jaguar's door was a craft skill lost to Mercedes owners.

Before releasing the catch I rested my hands on the window ledge. 'Simone, I meant to ask – did you know David Greenwood?'

'A little. Dr Penrose said that you were friends.'

'I met him a few times. Everyone agrees that he lived for other people. It's hard to imagine him wanting to kill anyone.'

'A terrible affair.' She appraised me with the same cool eyes that had gazed at the Alpes-Maritimes, but I sensed that she welcomed my interest in Greenwood. 'He worked too hard. It's a lesson to us…'

'In the days before the tragedy… Did you see him behave strangely? Was he agitated or -?'

'We were away, Mr Sinclair. In Lausanne for a week. When we came back it was all over.' She touched my hand, making a conscious effort to be friendly. 'I can see you think a lot about David.'

'True. Living in the same house, it's hard not to be aware of what happened. Every day I'm literally moving in his footsteps.'

'Perhaps you should follow them. Who knows where they can lead?' She stepped from the car, a self-disciplined professional already merging into the corporate space that awaited her. She briefly turned her back to the building and shook my hand in a sudden show of warmth. 'As long as you don't buy a gun. You'll tell me, Mr Sinclair?'

I was still thinking about Simone Delage's words when I returned from Cannes with the London newspapers. I left my usual route across the business park and drove past the Merck building, on the off chance that she might have finished her meeting and be waiting for a lift home. In her oblique way she had urged me to pursue my interest in David Greenwood. Perhaps she had been more involved with David than I or her husband realized, and was waiting for a sympathetic outsider to expose the truth.

I parked the Jaguar outside the garage and let myself into the empty house, pausing involuntarily in the hall as I listened for the sounds of a young Englishman's footsteps. The Italian maids had gone, and Señora Morales had moved on to another family in the enclave.

As I changed into my swimsuit I heard a chair scrape across the terrace below the bedroom windows. Assuming that Jane had called in briefly from the clinic, I made my way down the stairs. Through the porthole window on the half-landing I caught a glimpse of a man in a leather jacket striding across the lawn to the swimming pool. When I reached the terrace he was crouching by the doors of the pumphouse. I assumed that he was a maintenance engineer inspecting the chlorination system, and set off towards him, my stick raised in greeting.

Seeing me over his shoulder, he kicked back the wooden doors and turned to face me. He was in his late thirties, with a slim Slavic face, high temples and receding hairline, and a pasty complexion unimproved by the Riviera sun. Beneath the leather jacket his silk shirt was damp with sweat.

'Bonjour… you're having a nice day.' He spoke with a strong Russian accent, and kept a wary eye on my walking stick.

'Doctor -?'

'No. You're looking for my wife.'

'Natasha?'

'Dr Jane Sinclair. She works at the clinic.'

'Alexei… very good.'

He was staring over my shoulder, but held me in his visual field, the trick of a military policeman. His smile exposed a set of lavishly capped teeth that seemed eager to escape from his mouth. Despite his sallow skin, imprinted with years of poor nutrition, he wore gold cufflinks and handmade shoes. I assumed that he was a Russian emigré, one of the small-time hoodlums and ex-police agents who were already falling foul of the local French gangsters.

He raised his hand as if to shake mine. 'Dr Greenwood?'

'He's not here. Haven't you heard?'

'Heard nothing…' He stared cannily at me. 'Dr Greenwood live here? Alexei…'

'Alexei? Listen, who are you? Get out of here…'

'No…' He moved around me, pointing to the scars on my injured legs, confident that I was too handicapped to challenge him. Burrs covered the sleeves of his jacket, suggesting that he had not entered Eden-Olympia through the main gates.

'Look…' I moved towards the terrace and the extension phone in the sun lounge. The Russian stepped out of my way, and then lunged forward and struck me with his fist on the side of my head. His face was cold and drained of all blood, lips clamped over his expensive teeth. I felt my ringing ear, steadied myself and seized him by the lapels. The three months I had spent in a wheelchair had given me a set of powerful arms and shoulders. My knees buckled, but as I fell to the grass I pulled him onto me, and punched him twice in the mouth.

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