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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'Some of the jobs weren't in anyone's office. More like the couch in the next-door sitting room.' I pointed to a row of polaroids set against the inkstand. In one of the prints a stout blonde in a low-cut cocktail gown leaned towards the camera, lips parted in a parody of vampdom. In the next a dark-haired teenager sat naked on the verge of a swimming pool, her small breasts in silhouette.

'Pretty, isn't she?' Frances stared at the miniature image. 'The office junior?'

'I hope so. It's a strange photo to send to a personnel manager.'

'That depends on the kind of personnel Olga was recruiting.'

Frances moved my hand over her nipple. 'Do you find her attractive?'

'Olga Carlotti? She's lying face down with her brains across her knuckles.'

'The office junior.'

'Attractive? Yes, but a little young. Fourteen, fifteen…?'

'Who's counting? She reminds me of Jane.'

'Come on…' I gazed into the block of night air between the apartment buildings. Logic and reality curved at Marina Baie des Anges, warped by a relativity that applied to more than time and space. 'Jane is twenty-eight.'

'With the body of a teenager. I almost fancy her myself.'

'Simone Delage got there first. Jane's found the head girl she always needed to look up to.'

'But you still have sex?'

'We live in a company house. I don't think it's allowed.'

'That's why I moved here. Is she faithful?'

'As far as I know. A month before we married she had a fling with a surgeon at Guy's. That shook me, but Jane coped with it very well. Unfinished business, she told me, very common among brides…'

'Let's not talk about Jane.' Frances traced the scars on my knees with a finger, as if rethinking the incisions. 'Will she be awake when I drive you back?'

'I doubt it. She sleeps soundly.'

'The sort of sleep that leaves puncture marks?' Frances took the glass from my hand and sat up. 'Let's go back to bed. We have unfinished business of our own…'

I followed her into the bedroom, and wandered over to the bookshelf as she slipped into the bathroom. There was a row of textbooks on French property law, and a single copy of Through the Looking-Glass. As I turned the well-thumbed pages, smiling at the Tenniel illustrations, I realized that this was the first copy in Greenwood 's Alice library that anyone had read.

I lay beside Frances, admiring her sprawled figure in the overhead mirror. She seemed to fly across a darkened sky, a nymph from a baroque ceiling asleep on a passing cloud. As she gazed at her reflection, hands behind her head, I ran my fingers over the hollows of her armpits, eddies in the smooth skin that flowed to her hips. Her body was still unpacking itself for me. The small scars below her chin, the erect right nipple that seemed to have a life of its own, the strong ribcage and blonde pubic pelt were a raid on my senses.

She turned to face me, tactics decided. She cupped a hand around my penis, fingers feeling for its root, and weighed my testicles like a stockwoman with an elderly breeding bull.

'You're still tense, Paul. Think about the robbery. If the mirror bothers you I can turn off the light.'

'Leave it on – I've got two of you to look at.'

'David liked doing that. Which was the real me, he used to ask… philosophy in the boudoir. The mirror was his idea.'

'David's?' My fingers paused as they grazed in the damp watermeadow between her thighs. 'I'm impressed.'

'At times he surprised himself. That's what I want you to do, Paul. I want you to shock yourself.'

'And what about you, Frances? What shocks you?'

'Nothing about sex ever shocks women. At least, men's kind of sex. We clean up after you, like those charladies with brooms who follow the coronation coach.' She kissed my mouth, curious about the taste of my lips, and then tested my still-flaccid penis, nodding like a serious-minded child with some difficult homework. 'Let's concentrate on you. We'll open a few doors. That robbery excited you. What else is there?'

'Try me. Turn a key.'

'I will… do you want to beat me?' She lay on her stomach, looking over her shoulder at her image in the mirror, and smacked her plump bottom. 'I've got a nice rump – deliciously spankable, David used to say. There's a dressing-gown cord in the bedside table.'

' Frances…' I caressed the white skin, glad to find no trace of weals. 'The last thing I'm going to do is hurt you.'

'Do you want to tie me up? We'll go into the bathroom, you can rope my wrists to the bidet taps and bugger me. Some people like fucking in bathrooms. All that baptism and absolution. Paul?'

'Not for me. No religious streak. Frances, I'm sorry – it'll come back.'

'It hasn't gone away.' She lay beside me, the moisture from my lips glistening on her breasts, talking in a low but firm voice. 'We're relaxing, Paul, so you don't need to worry. What about stealing? That was something you did as a boy. And those hazings in the RAF that got you going? Think about flying your first solo, and the big erection in the cockpit. Do you want to see me fucked by another man? Maybe it's too soon for that. We'll wait till you need me more. Do you want to watch Jane being fucked? It's every husband's dream. Yes, Paul, you're waking up… think about Jane being fucked by Halder or Alain Delage. Fucking someone else makes her a stranger again, stranger and more interesting. There are things between them you'll never know. Not the old bathroom smells and the sheets stained with your cock. Someone else's semen lying between you… yes, you like that. Paul, do you want me to pee or shit on you? A little warm sprinkle?'

'Frances, dear…' I held her breasts as she squatted across me, and felt the warm urine on my thighs, hotter than I expected from her cold hands. A quick scent, sweet and ammoniacal, rose from her pubis. ' Frances, give up…'

'No, we don't give up.' She blew the damp hair from her eyes.

'Let your mind drift… you're on the taboo coast, there are dark harbours here. We'll find the door, the special one…'

She stopped, and stared with a look of frustration at my limp penis, then sprang from the bed towards the bathroom.

'Don't move. I'll be back.'

' Frances, please – no shit.'

'No shit, don't worry.'

When the door closed I heard her rooting through the laundry basket. I moved from the urine-damp patch. Beyond the terrace the apartment buildings of Marina Baie des Anges made their curved passage through the night. I had disappointed Frances, though she was taking my failure in good part. Jane still hovered somewhere within my mind, but she had begun to fade from me. My visceral response to the Cardin robbery seemed to justify infidelity. The contingent world, as always, rewrote the rules and sanctioned everything.

I heard Frances switch off the bathroom light. The door opened, and her hand reached to the wall switch, dimming the bedside lamp.

'Right…' Frances stood beside the bed, swaying to the faint North African music that came from an apartment above us.

'Don't tell me you're asleep.'

'I've never been more awake.'

I sat up and leaned against the quilted headboard, feeling its buttons in my back. Frances raised her arms to the ceiling mirror, as if about to join her second self among the clouds. She wore a zebra-striped cocktail dress that exposed her crutch, a parody of a gun-moll's gown in a gangster musical. The cheap fabric clasped her hips and waist, and the plunge neckline almost bared her breasts. Her legs were sheathed in a tattered pair of fishnet tights, holes as large as my hand around patches of pale skin. A slash of two-tone lipstick, scarlet and mauve, turned her mouth into a lurid grimace, a tough-teen fad I had seen in the bars of La Bocca, a convent girl's notion of a streetwalker's smile, alienating and alluring.

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