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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'You're thinking of David Greenwood?'

'He's a good example.' Penrose sat up and rubbed at a coffee stain on his white shirt, irritated by the dark smudge. 'The security people here won't admit it, but on May 28 they took at least an hour to react coherently, even when they actually heard gunshots. They couldn't believe that a madman with a rifle was walking into offices and shooting people dead. Their moral perception of evil was so eroded that it failed to warn them of danger. Places like Eden-Olympia are fertile ground for any messiah with a grudge. The Adolf Hitlers and Pol Pots of the future won't walk out of the desert. They'll emerge from shopping malls and corporate business parks.'

'Aren't they the same thing? Eden-Olympia as an air-conditioned Sinai…?'

'Absolutely.' Penrose pointed approvingly at me, the alert student in the front row of the lecture hall. 'We're on the same side, Paul. I want people to come together, not divide themselves into separate enclaves. The ultimate gated community is a human being with a closed mind. We're breeding a new race of deracinated people, internal exiles without human ties but with enormous power. It's this new class that runs our planet. To be successful enough to work at Eden-Olympia calls for rare qualities of self-restraint and intelligence. These are people who won't admit to any weakness and won't allow themselves to fail. When they arrive their health is at a peak, they rarely touch drugs and the glass of wine they have with dinner is a social fossil, like the christening mug and the family silver.'

'But things go wrong?'

'Nothing too obvious at first. But by the end of the first year their energy levels begin to fall. Even a twelve-hour day, six days a week, isn't long enough to get everything done. At the clinic we've watched it happen dozens of times. People complain about the recirculated air and pathogens breeding in the filter fans. Of course, none of the air at Eden-Olympia is recirculated.'

'And the filters? They screen something out.'

'Bird droppings and toilet wastes from aircraft using Nice Airport. Then people worry about security inside their office buildings. That's always a key indicator of internal stress, the obsession with the invisible intruder in the fortress – the other self, the silent brother who clones himself off from the unconscious. The neural networks are starting to uncouple themselves. Committee meetings are rescheduled for Sundays, holidays abandoned after twenty-four hours. Finally they make their way to the clinic. Insomnia, fungal infections, respiratory complaints, inexplicable migraines and attacks of hives…'

'Old-fashioned burnout?'

'That's what we thought with the first cases. Presidents of multinational companies and their CEOs. These people weren't anywhere near burnout.' Penrose sounded almost disappointed as his eyes strayed across the white walls, searching for a blemish. 'But the creative edge was blunted, and they knew it. We urged them to take up skiing or yachting, book a suite at the Martinez and spend the weekend with a crate of champagne and a pretty woman.'

'The perfect prescription,' I commented. 'Did it work?'

'No. There was no response at all. But the health checks threw up a curious fact. There was a very low level of venereal complaints, surprising when you think of these attractive men and women at the height of their powers, and all the business trips around the world.'

'They weren't having much sex?'

'Worse. They weren't having sex at all. We set up a bogus lonely-hearts club, hinting that there were any number of bored secretaries eager for a fling. No takers. The adult film channel, hours of explicit hardcore, did no better. People watched, but in a nostalgic way, as if they were seeing a documentary about morris dancing or roof-thatching, an old craft skill popular with a previous generation. We were desperate. We held corporate parties with a chorus line of kiss-me-quick beauties, but all they did was look at their watches and keep an eye on their briefcases in reception.'

'They'd forgotten they were living in paradise?'

'This was an Eden without a snake. Short of making sexual intercourse a corporate requirement, there was nothing we could do. Meanwhile, immune levels across a hundred boardrooms continued to fall. Faced with all this insomnia and depression, I went back to old-fashioned depth psychology.'

'The leather couch and the lowered blinds?'

'More the armchair and the sun-filled room – psychiatry has moved on.' Penrose stared at me, aware that I was waiting for him to trip himself. For all his jovial asides, his manner was relentlessly aggressive. As he flexed his legs and openly displayed his heavy thigh muscles it occurred to me that psychiatry might be the last refuge of the bully.

'Of course, Wilder,' I apologized. 'I'm behind the times. Jane showed me round Freud's house in Hampstead… dark and very strange. All those figurines and ancient idols.'

'The antechamber to a pharaoh's tomb. The great man was preparing for death, and surrounded himself with a retinue of lesser gods paying tribute to him.' Forgiving me with a raised hand, Penrose went on: 'Classical psychoanalysis starts with the dream, and that was my first breakthrough. I realized that these highly disciplined professionals had very strange dreams. Fantasies filled with suppressed yearnings for violence, and ugly narratives of anger and revenge, like the starvation dreams of death-camp prisoners. Despair was screaming through the bars of the corporate cage, the hunger of men and women exiled from their deeper selves.'

'They wanted more violence in their lives?'

'More violence and cruelty, more drama and rage.' Penrose clenched his huge fists and drummed them on the table, sending the coffee cups into a frenzy. 'But how to satisfy them? Today we shun the psychopathic, the dark side of the sun and those shadows that burn the ground. Sadism, cruelty and the dream of pain belong to our primate ancestors. When they surface in a damaged adolescent with a taste for strangling cats we lock him away for good. The run-down chief executives with their hives and depression were sane and civilized men. Maroon them on a desert island after a plane crash and they'd be the first to perish. Any perverse elements in their lives would have to be applied externally, like a vitamin shot or an antibiotic.'

'Or a small dose of madness?'

'Let's say, a carefully metered measure of psychopathy. Nothing too criminal or deranged. More like an adventure-training course, or a game of touch rugby.'

'Shins will be barked, eyes blacked…'

'But no bones broken.' Penrose nodded approvingly. 'I wish you'd been with me, Paul. You obviously have a feel for this sort of thing. Still, I needed to test the theory, and start rolling this very odd-shaped ball. I could hardly sit at my desk in the clinic and tell some depressed CEO that he'd cure his insomnia by vandalizing a few Mercs in the Palais des Festivals car park. Then a senior manager with Hoechst showed me the way. He'd been out of sorts for months and suffered from attacks of dermatitis, even thought of transferring back to the head office in Düsseldorf.'

'And what saved him? I think I can guess.'

'Good. He saw a woman tourist in Cannes being mugged by an Arab youth, and went to her rescue. While she called the police he gave the fellow a good beating, kicked him so hard that he broke two bones in his right foot. He came in a week later to have the cast removed, and I asked him about the dermatitis. It had gone. He felt buoyant and confident again. Not a trace of depression.'

'He knew why?'

'Absolutely. Whenever he felt the blues coming on he would take one of the security men into La Bocca and provoke an incident with a passing immigrant. It worked a treat. He coopted a couple of close colleagues and they too cheered up. I asked if I could keep a professional eye on the exercise. Soon we had an active therapy group with a dozen senior executives. At weekends they'd start brawls in Maghrebian bars, trash any Arab cars that looked unroadworthy, rough up a Russian pimp or two. The health benefits were remarkable. Bandaged fists and plastered shins on Monday mornings, but clear, confident heads.'

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