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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'Now. Today. As soon as I'm packed.'

'And where are we going?'

Jane shrugged, staring at the chaos of half-filled suitcases.

' England, London, Paris, anywhere. Away from here.'

I reached out to the radio on the bedside table and switched off the French concert commentator. 'Why? You have another six-month contract to run.'

'I'll take a week's compassionate leave. We'll simply not come back.'

'Professor Kalman won't like that. It could damage your career.'

'Staying here will finish it. Believe me, the last thing they want is another English doctor going insane.'

'Jane…' I tried to take her shoulders, but she sidestepped me, marking the pattern of her bare feet in the talc like an evasive dance step. 'Are you all right?'

'Completely compos mentis.' She stared at herself in the dressingtable mirror, jaw thrust forward. 'No, I'm not all right. And nor are you. Where's the getaway car? I don't want to drive to Calais in the little Peugeot.'

'The Jag's outside. Tell me why you want to leave. Is it anything I've done?'

'Have you done anything? I'm amazed.' Jane rolled her eyes in mock alarm. She placed her hands on my chest. 'Dear husband, you're a decent and kindly man – more or less – and I want to keep you that way. I don't know where you stay out all night and I won't ask. I hope she's sweet and appreciates you. But I'm sure of one thing – remain here any longer and you'll end up like the rest of us.'

'Jane, why now? Has something worried you – the business at the Cardin Foundation?'

'Cardin? Not my favourite schmutter. You mean the robbery at Miramar?'

'You've heard about it?'

'Simone and I saw it on the news. Alain was driving through Théoule as the gang sped off and tried to stop them. Poor man, he was covered with bruises. I had to patch him up.' She rubbed the infected needle mark on her thigh. 'Alain said he saw you later at the Villa Grimaldi.'

'A stag night, laid on by Pascal Zander.'

'Ghastly man. I'm glad I wasn't there. He invents imaginary venereal symptoms so he can roll out his big cannon. It's quite a spectacle. He's perpetually tumescent in a nasty way.'

'A good reason for leaving. So it isn't me that you want to get away from?'

'I want to get away from myself.' She sat on the bed, hands over her small breasts as if feeling her tender nipples. 'There are too many mirrors in this house and I don't like what I see in them. Outside the clinic I hardly exist. I'm tired all the time and I keep picking up small infections. For the last two months I've had swollen tonsils – if you tried to kiss me you'd never get your tongue in my mouth.'

'Have you talked to Penrose?'

'Wilder Penrose… for a clever man he has some odd ideas. He thinks we need to freshen up our sex life. How, he didn't quite say – something about prepubertal girls. I told him that wasn't your scene, you liked them a good bit older. That's why you married me. Isn't it?'

'You know it is.'

'Good…' She stared at my hands as I sat beside her, her eyes slightly out of focus. She raised my fingers to her lips, and caught a strange scent clinging to the nails. Her eyes sharpened, and she glanced at me without comment. 'Paul… you know I'm going to bed with Simone?'

'No. But I guessed.'

'I was so sleepy, it happened before I realized it. I thought we were playing girls in the dorm, but she had other ideas. You're not upset?'

'A little. We talked it through long ago. Have you…?'

'Since school? Once. Heterosexuality is hard work – men make it into a big effort. When I get back from the clinic I'm too tired for all those emotions. With Simone I can switch off.'

'What about Alain?'

'He likes to watch. Sorry, Paul… you're too sane. If we stay here any longer I'll go to bed with Alain. I don't want that to happen.'

She sniffled into a corner of the sheet. Searching for a tissue, I pulled back the dressing-table drawers, and exposed the clutch of ampoules in her valise. 'Jane… all this pethidine. How much can you take?'

'They're nothing. Better for me than too many double scotches.'

'The diamorphine? It's pure heroin.'

'I'm all right!' She closed the drawer, and then stared at me curiously. 'You never tried to stop me. Not seriously. That's a little surprising.'

'You're the doctor, you know how to handle the stuff.'

'No.' Jane took my chin, forcing me to look her in the face. 'You're keeping an eye on me, Paul. I'm your guinea pig. You want to know what happens to people in Eden-Olympia.'

'That may be true. I'm sorry, I hadn't realized it.'

'It's part of your search for David Greenwood. You're totally obsessed with him. Why? Because we were lovers once? It was a long time ago.'

'Never long enough.' I felt myself sink slightly. 'David was making a stand against Eden-Olympia. It's the proving ground for a new kind of world, and he couldn't cope with that.'

'You've been listening to Wilder. Nietzsche on the beach – Philip Glass could set it to music.'

'He's serious, but he's starting to give himself away. I need more time, Jane. That's why I'd like to stay on for a while. Let me explain it to you, and then you can decide if we leave.'

'All right…' She leaned against me, her breathing shallow, her putty skin giving off a stale odour that I had never noticed.

As I listened to her slow heartbeat I knew how deeply exhausted she was.

I cleared a space among the suitcases and laid her on the bed, straightening the pillow under her head. I sat beside her, holding her hands between mine, and thought about her affair with Greenwood, and their quick sex probably snatched at Guy's in darkened laundry rooms. Jane was fond of me, but our marriage had been the last of her hippie gestures, the belief that impulsive acts alone gave meaning to life. Sex and drugs had to be casually dispensed, as a way of defusing the myths around them.

'Paul… I'm going to sleep for a little.' Jane smiled at me as I stroked her damp forehead. Together we listened to an approaching publicity plane that climbed the valley from the coast, bringing to the business park its tidings of another marina complex or discount furniture sale. A few hundred yards from us Wilder Penrose would be standing at his kitchen window, watching the wavering pennant as he laid his own very different plans for the new Riviera.

PART II

31 The Film Festival

On the roof of the Noga Hilton the samurai warrior had lowered his sword, as if unable to decide how many of the thousands of heads in the Croisette he would strike from their shoulders. His black helmet, the size of a small car, tilted towards the sea, moving jerkily as the Japanese technicians swarmed over his back, their arms deep in his electromechanical heart.

But the crowd's attention had turned to a trio of stretch limousines emerging from the drive of the Martinez. The onlookers surged against the railings, angry cries sounding a clear threat above the excitement. Hands patted the sleek roofs of the vehicles, fingers pressed at the tinted windows and left their smeared prints on the glass. A middle-aged woman in a baseball cap fired a canister of liquid confetti over the last Cadillac, entrails of iridescent air-weed that clung to the radio masts. Glamour moved through Cannes at five miles an hour, too fast to satisfy their curiosity, too slow to slake their dreams.

I sat at my table in the Blue Bar, waiting for Frances Baring to join me. After avoiding me for a week, hiding behind the answerphone at Marina Baie des Anges, she had called my mobile, a wilfully cryptic edge to her voice. She suggested that we have an early-evening drink in Cannes, though the Croisette was the last place for a secret rendezvous.

Ten feet from my kerbside table the limousines moved on towards the Palais des Festivals between the lines of police and security men.

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