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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'It did. Remarkably callous, in fact. So the house was part of the experiment?'

'Penrose wanted you to think about David. Where better to start than lying in David's bed? They knew you'd hear the gunshots as you made love to your child bride. Those murders sent a corporate shudder around the world. Everyone was aware something sinister had happened, and might happen again. Your job was to relive the whole nightmare. They cleaned the place up, but there were traces of David everywhere – the same bathroom, the same kitchen, the sun-loungers marked with his barrier cream. Penrose wanted you to take on David's role, and start to think like him. In case your mind wandered, they picked Señora Morales to be the housekeeper. One very garrulous Spanish lady. She'd seen Bachelet and Dr Serrou lying dead in Guy's bedroom, all the blood and drugs and Dominique in her erotic underwear. She was just bursting to fill you in with the background material.'

'So they opened the door to the maze and pushed me in. But how did Penrose know where I'd go?'

'He didn't. You started by nosing the air, and you didn't like the smell. You talked about going back to London. You were bored with Cannes and a wife who never stopped working. But then you found the bullets in the garden. Zander's men had missed them, but it was a blessing in disguise.'

'From then on I was hooked?'

'You were playing detective. But Penrose guessed that wasn't the only reason. You were starting to identify with David. You knew he'd changed since coming to Eden-Olympia. So you, too, wanted to change.'

'Did David take part in the actions? The attacks on blacks and Arabs in La Bocca?'

'No.' Frances grimaced into her cupped hands. 'He didn't like those at all. Penrose and Bachelet kept him in the dark. Anyway, he was developing a recreational side of his own.'

'What exactly? You were with him, Frances. What appealed to him – the rapes, the attacks on prostitutes?'

'He hated those.'

'Wilder must have talked to him. He can be very persuasive, setting out his Sadeian world, his do-it-yourself psychopathy kit.'

'We've all had the pep talk. Don't worry, David could see the benefits. Eden-Olympia was booming. But David didn't like the human cost.'

'Nor did I.'

'At first, Paul.' Frances stared bleakly at me. 'Then you changed.

Now you don't take part but you go along for the ride. You're like all men – violence is your real turn-on, not sex. Penrose teased you, feeding you hints of a secret Eden-Olympia, letting you watch a little tasty truncheon work. Like that beating they gave the trinket salesman in the clinic car park. The whole thing was staged for you. They knew you'd go back to the Jaguar parked on the roof. Halder signalled when you'd left Jane and were on the way. They put the African and the Russian up against the wall and made sure you heard the screams.'

'I can still hear them. Nasty, but…'

'Effective? The raid on the Cardin Foundation really got you going – without all those wailing geishas we'd never have made it into bed.'

'Not true, Frances.'

'You practically came over the kitchen floor. All the while, Penrose was drip-feeding his "explore your own pathology" message to you. And you wanted to hear it. Jane was too tired to have sex with you, but after a little pethidine she'd relax with Simone Delage. That was interesting, and you didn't mind too much.'

'Easy to say.'

'It intrigued you, for the first time you could stand back from yourself and enjoy a strange new feeling. And you were getting closer to David. Every time you stalled they laid down more scent. The appointments diary in David's computer. It didn't take you long to work out it was actually a target list.'

'Penrose supplied that?'

'Of course. Once you saw it, there was no stopping you. Then there was the Riviera News transcript of the special radio report.'

'By the rogue journalist who suddenly moved to Portugal?'

'He didn't exist. The report was never broadcast.'

'So who wrote the text?'

'I did. Zander and Penrose gave me a rough outline. They told Meldrum to hand it to you and hint at sinister goings-on.' Frances spoke matter-of-factly, as if explaining to a confused tourist how he had lost himself in a strange city. The release of this long-repressed material seemed to calm her, rage diffused into the cooling waters of truth. Before I could interrupt, she pressed on: 'I added a few interesting contact numbers – Isabel Duval and the chauffeurs' widows. The first thing you did was drive out to see them. Once you'd actually met them you knew there was something wrong with the official story.'

'There was. The brainstorm explanation never made sense.'

'You started exploring the death route, feeling yourself into David's mind when he set off with his rifle. You were always talking about Lee Harvey Oswald, Hungerford and Columbine. So Zander told Halder to take you on a guided tour.'

'My very own Dealey Plaza. It was quite a day. The crime photos showed the nasty little hobbies that people have at Eden-Olympia.'

'They were hobbies – assigned by Penrose as part of the therapy programme. That's why some of it looks so amateurish. Berthoud with his old-fashioned scales and smuggler's suitcase: he was acting out a fantasy of a drug-dealer and not doing it very well. Guy Bachelet with the stolen jewellery he couldn't be bothered to get rid of. The photos drew you in even deeper. You could see that Halder knew more than he let on.'

'He killed David. Did he shoot the hostages?'

'No. Zander led the execution squad. They arrested them outside the TV centre and took them back to the house. Then Kellerman shot them in the garden with David's rifle. Someone told me that Cordier and Bourget made a run for it and everything was botched. That's how you came to find the bullets.'

'So Halder was still on the garage roof?'

'They couldn't get him away from David's body. He was weeping all over him.' Frances pressed a fist to her mouth, forcing the blood from her blanched lips. 'Now he's using you to take his revenge. Be careful, Paul – you're a very small piece on Halder's board.'

'I know that.' I took her hand and kissed her wrist. 'Aren't you playing the same game, Frances? Did Zander and Penrose set up our meeting at the Palais des Festivals?'

'No. That was me. I'd had time to think about David. We'd split up very painfully. He more or less threw me out.'

'But why? I thought you were close.'

'Too close. That was the reason. I was frightened I'd lose him. So I showed him things about himself he didn't know.'

'Such as?'

'It doesn't matter now.' Frances stared fiercely at the hills beyond Cannes. 'Eden-Olympia corrupted David and destroyed him. He was the real victim on May 28. I watched him die in the gutter like an animal, crying in pain. After that I wanted to expose Wilder Penrose and Zander and Professor Kalman, but I needed hard evidence.'

'The photographs, the truth about the hostages…?'

'Not hard enough. I'd been David's lover for months, my flat was full of his things. Zander wanted to frame me there and then. If Penrose hadn't stepped in I would have been charged as a co-conspirator. They'd have found me guilty.'

'Twenty years in a French prison. Or worse. Good for Wilder Penrose.'

'He knew I'd be useful. So I had to go along with them. I work in the property office, I know about all the lettings on the Côte d'Azur – which Omani millionaire is moving into a particular villa in Californie, which Turkish banker is buying a jewellery store in Villeneuve-Loubet or leasing warehouse space somewhere. I laid on the Cardin Foundation raid, and the marina hijacking at Golfe-Juan. Like it or not, I've been deeply implicated from the start. I wanted revenge for David, but there was nothing I could do.'

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