J.G. Ballard - Super-Cannes

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Super-Cannes: краткое содержание, описание и аннотация

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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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'Tough on the Arabs, though.'

'True. But on the whole the immigrant community benefits. Eden-Olympia is a scrupulous equal-opportunities employer, with no racial bias. We hire a disproportionate number of north Africans as gardeners and road sweepers. The immigrant population gains from the clearer heads of the people who do the hiring.'

'A tricky balance to weigh. I assume the therapeutic system began to expand.'

'I was surprised by how quickly. Vigilante actions, incidents of deliberate road rage, thefts from immigrant markets, tangles with the Russian mafiosi. Other therapy groups spread out into the fringes of drug-dealing and prostitution, burglaries and warehouse robberies. A picked group of security men were paid foot soldiers, earning generous bonuses we deducted from the arts and recreations budget. The benefits were astounding. Immune levels rose through the ceiling, within three months there wasn't a trace of insomnia or depression, not a hint of respiratory infections. Corporate profits and equity values began to climb again. The treatment worked.'

'No side effects?'

'A few.' Penrose watched me as he spoke, curious to see how I reacted, and clearly pleased that I had not leapt from my chair in outrage. He spoke matter-of-factly, like an architect setting out the pros and cons of an experimental sewerage system. 'There's a risk element, but it's acceptable. Eden-Olympia has a lot of clout with the local authorities. In many ways we're carrying out tasks the police would do anyway, and we free them for other duties. The sex side can be troubling. A few prostitutes have needed remedial surgery. Your friend Alain Delage is a little too free with his fists. There's a remarkable need for punitive violence hidden away in the senior executive mind.'

'And sex tends to release it?'

'It's meant to, for sound biological reasons. Sex is such a quick route to the psychopathic, the shortest of short cuts to the perverse. We aren't running an adventure playground, but a forcing house designed to expand the psychopathic possibilities of the executive imagination. It needs to be carefully monitored. Sadomasochism, excretory sex-play, body-piercing and wife-pandering can easily veer off into something nasty. It's surprising how many prostitutes object to rape, even of the most stylized kind.'

'Unimaginative of them.'

'Who knows?' Penrose shrugged generously at the world and its curious ways. 'A few times I've had to step in and redirect the therapy. On the whole, though, it's worked well. Almost every senior executive at Eden-Olympia is now involved in the programme, even if only at the margins.'

'And David Greenwood was aware of all this?'

'To a large extent. He and I discussed it with Professor Kalman. The department heads at the clinic are in the know. They can see the benefits, and on the whole David approved. The drug rehab centre in Mandelieu was plagued by smalltime gangsters trying to muscle in on the methadone supply. It was a big help to him when the therapy groups came down from Eden-Olympia and drove them out. The more aggressive road attacks bothered him, but he knew that the violence against the local prostitutes was a special kind of rehabilitation, a form of shock treatment that would send them back to their factory jobs.'

Penrose turned from me, a hand raised to catch a ray of sunlight over his head. He glanced at the opaque mirror behind him, as if waiting for an audience's response. His exposition had been almost playful, testing me with his callous asides. But he was clearly proud of his dubious achievement and its insane logic, a therapeutic breakthrough that would never be awarded the gold medals of the leading medical societies. This lonely commitment to his radical vision gave him an almost bearlike dignity.

'The murders on May 28,' I said. 'Were they part of David's therapy programme?'

'Paul… that's the great mystery of Eden-Olympia. In his deranged way, David was a minor prophet, guiding us into the future. Meaningless violence may be the true poetry of the new millennium. Perhaps only gratuitous madness can define who we are.'

'At the cost of breaking the law? Your senior executives at Eden-Olympia are committing enough crimes to get themselves locked away for the rest of their lives.'

'That's true, on a literal level. Remember that these criminal activities have helped them to rediscover themselves. An atrophied moral sensibility is alive again. Some of my patients even feel guilty, a revelation to them…'

I listened to a car alarm sounding in the avenue, and imagined the French police bursting in to arrest us. 'Guilt? Isn't that a design error? It only needs one CEO to go to the authorities and your therapy programme will be over. Curing a few cases of insomnia will count for nothing.'

'Not just a few. But I agree with you.' Penrose stared over my head, weighing the objection in his mind. 'So far people have been intelligent enough to see the point. They grasp the value of…'

'Beating up an out-of-work Arab? Some labourer with a wife and four children living in a tin shack at a bidonville?'

'Paul…' Pained by my crude questions, Penrose reached out a hand to settle me, like a minister with a restive congregation. 'Sit back and think things through. The twentieth century was an heroic enterprise, but it left us in the dark, feeling our way towards a locked door. Here at Eden-Olympia there's a chink of light, a thin and fierce glow…'

'Our own psychopathy?'

'Whether we like it or not. The twentieth century ended with its dreams in ruins. The notion of the community as a voluntary association of enlightened citizens has died for ever. We realize how suffocatingly humane we've become, dedicated to moderation and the middle way. The suburbanization of the soul has overrun our planet like the plague.'

'Sanity and reason are unworthy of us?'

'No. But a vast illusion, built from mirrors that lie. Today we scarcely know our neighbours, shun most forms of civic involvement and happily leave the running of society to a caste of political technicians. People find all the togetherness they need in the airport boarding lounge and the department-store lift. They pay lip service to community values but prefer to be alone.'

'Isn't that odd, for a social animal?'

'Only in some ways. Homo sapiens is a reformed hunter-killer of depraved appetites, which once helped him to survive. He was partly rehabilitated in an open prison called the first agricultural societies, and now finds himself on parole in the polite suburbs of the city state. The deviant impulses coded into his central nervous system have been switched off. He can no longer harm himself or anyone else. But nature sensibly endowed him with a taste for cruelty and an intense curiosity about pain and death. Without them, he's trapped in the afternoon shopping malls of a limitless mediocrity. We need to revive him, give him back the killing eye and the dreams of death. Together they helped him to dominate this planet.'

'So psychopathy is freedom, psychopathy is fun?'

'A natty slogan, Paul, but it does contain a certain fiery truth.'

Penrose beamed at me, openly pleased with my progress. 'We're creatures of the treadmill: monotony and convention rule everything. In a totally sane society, madness is the only freedom. Our latent psychopathy is the last nature reserve, a place of refuge for the endangered mind. Of course, I'm talking about a carefully metered violence, microdoses of madness like the minute traces of strychnine in a nerve tonic. In effect, a voluntary and elective psychopathy, as you can see in any boxing ring or ice-hockey rink. You've served in the armed forces, Paul. You know that recruits are deliberately brutalized – the drill sergeant's boot and the punishment run give back to young men a taste for pain that generations of socialized behaviour have bred out of them.'

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