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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' Jesus, Frances – my feet!'

'So? You've got two of them.'

'Look at those toes – they're the size of lobsters.'

'It's a crowded party. Who's going to notice them?' Frances stared at my toes. 'They're prehensile… is that genetic?'

By chance, she found a pair of black espadrilles that I wrenched into shape. As we took the lift to the basement garage she touched the dinner jacket, trying to calm a fleeting ghost. For a moment she seemed to see my face for the first time.

My own memories of Greenwood were less pressing. The booster dose of painkiller that I injected in the bathroom had induced a pleasant torpor. The world could deal with itself, and make its own accommodation with the deranged doctor. When we reached Antibes, passing the harbour and the modest apartment building where Greene had spent his last years, I thought of the two Asian women, sitting like furies at the baize table, guarding their ugly sideshow to the film festival as Greenwood chuckled his way round the video-horrors.

We waited at the long traffic lights near the bus depot in Golfe- Juan. Under the sodium glare Frances smiled approvingly at me.

'You look so smart, Paul. Even your wife might fancy you.'

'I sleep in the children's room now. It's sunny and cheerful, like going back to infancy – Babar, Tintin and Rupert Bear watch over me…'

'The frieze? It's sweet. I helped David put it up.'

'Why, though? He wasn't married. It's an odd thing for a bachelor to do.'

'He had friends in London who came down.'

'The refuge at La Bocca – did any of the girls stay at the house?'

'With their uncles, now and then…'

'Migrant Arab labourers? It's hard to believe.' We were climbing the heights of Super-Cannes, along a smoothly paved road that curved past palatial villas, lit like spectres by firework displays.

'This Alice obsession, lending these incomprehensible books to the teenage girls. He was a one-man British Council, and about as much use. Those tough teenagers can't have made head or tail of them.'

'So why did he bother? Go on, Paul… you're thinking of the Reverend Dodgson and his other interests.'

'It did occur to me.'

We reached the Villa Grimaldi and joined the queue of cars and taxis waiting to enter the estate. In the darkness, the VIP guests sat in their limousines like deposed minor royalty. Security men in Eden-Olympia uniforms took Frances 's invitation and waved her through the gates into the drive, where she handed the BMW to a squad of hyperactive valet-parkers.

Three marble terraces, the lowest enclosing a swimming pool, looked out over a shelving lawn towards La Napoule Bay. Cannes lay beneath us, a furnace of light where the Croisette touched the sea, as if an immense lava flow was moving down from the hills and igniting at the water's edge. The Palais des Festivals resembled a secondary caldera, and the rotating strobes on its roof vented a gaudy fountain above the Vieux Port.

Frances and I strolled forward, eyes stung by the flashes of chemical colour from a firework display. Five hundred guests packed the terraces, some dancing to the music of a marimba band, others helping themselves to champagne and canapés. A forced intimacy ruled the night, an illusion of good humour that seemed part of a complex social experiment.

On the lowest terrace were the business park's more workaday guests, the bureaucracy of local police chiefs, magistrates and senior civil servants. They and their carefully groomed wives stood with their backs to the Croisette, staring coolly at the actors, directors and film agents who occupied the middle terrace. I failed to identify any of the actors, aspiring newcomers who were still prepared to fraternize with their public but displayed the nervy jauntiness of celebrities forced to accept that no one recognized them or had seen their out-of-competition films. They in turn kept a careful watch on the upper terrace. Here an elite of film producers, bankers and investors endured the noise, a collective roar of inaudible voices. The Cannes Film Festival, like the Academy Awards in Los Angeles, momentarily confused them with the suggestion that film was about something other than money.

'The guests are here,' I shouted into Frances 's ear. 'But where are the hosts?'

'This kind of party doesn't have hosts.' Frances ran a hand over my dinner jacket. 'Time for me to go to work, Paul. I hope you find Jane. If you don't, you can take me home…'

She plunged into the crowd, immediately equipping herself with an entourage of intrigued males. Finding my bearings, I realized that she was trying to avoid a far more serious admirer who had seen her arrive. Moving unsteadily down the steps from the upper terrace was Pascal Zander, helped by the ever-watchful Halder, mobile radio in hand. The security chief wore a dinner jacket and tie but seemed dishevelled, and had clearly been forced to dress in a hurry. He was sweating freely, and gazed around the terrace like a vaudeville performer who had emerged through a trap-door and realized he was on the wrong stage.

'Halder…' I caught his arm. 'Is Jane here?'

'Mr Sinclair…?' Surprised to see me, Halder stared at my dinner jacket, eyes running along its worn seams and English cut. He searched my face, concerned that I was trying, unconvincingly, to impersonate someone else.

'Halder, my wife…?'

'Dr Jane? She arrived two hours ago. I think she went home.'

'Was she tired?'

'It's possible. It was a long movie.' Halder's reply was evasive. 'She needed to… rest.'

'But she's all right?'

'I'm not a doctor, Mr Sinclair. She was fine.'

A heavy hand slapped my back. 'Of course she's fine…' Pascal Zander swung towards us and collided with Halder. Steadying himself, he swayed against me like a docking blimp. 'I saw her five minutes ago.'

'At the Villa Grimaldi? Good.'

'Not good for me.' Zander gave a tolerant shrug. 'You should see her, Mr Sinclair. She's a fine doctor.'

'I know she is.'

'You know?' Zander turned an unsteady eye on me, distracted by the dinner jacket I wore. 'Yes, you're her husband. I telephone her every day. We talk about my health.'

'Is anything wrong?'

'Everything is wrong. But not with my health. Jane looks after me, Mr Sinclair. She takes my urine, she tests my blood, she looks in my private places.'

'She's very thorough.'

'She's a serious woman.' Zander leaned against me, and whispered hoarsely into my ear. 'How can a man live with a serious woman? She lacks one thing – no bedside manner.'

He squeezed my shoulder in his large hand, then steadied himself and inhaled the night air. He was bored and drunk, but not as drunk as he pretended, and well aware that Halder was watching him like a guard dog on another master's leash. For all his craftiness, I was surprised that this corpulent beach Beria had been appointed Eden-Olympia's acting head of security. Tactical indiscretion was his forte.

'People at Eden-Olympia play too many games,' he confided, taking my arm and drawing me to the edge of the terrace, where the band and the fireworks were less noisy. A group of police chiefs' wives had begun to sashay to the music, dancing around their tolerant husbands, but Zander dismissed them with a wave. 'I have to be their amah, their nounou, calling them from the garden. When their noses bleed, I have to wipe them. When they soil their behinds, I clean them. They don't like me for that.'

'You know where they hide their toys?'

'Dangerous toys they're not old enough to play with. Wilder Penrose is turning them into children. That's not clever, Mr Sinclair. If someone went to Tokyo or New York and explained the games their people are playing here… what would they think about that?'

'I imagine they'd be concerned.'

'The good name of their companies… Nissan, Chemical Bank, Honeywell, Dupont. They would pay a lot to keep their good name.' Zander pointed to a group of magistrates standing nearby, judiciously silent as a waiter filled their champagne flutes. 'We should leave crime to the professionals. They're happy to work for us, but psychiatrists they don't trust. Psychiatry is for children who wet the bed…'

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