J.G. Ballard - Cocaine Nights

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Cocaine Nights: краткое содержание, описание и аннотация

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There’s something wrong with Estrella Del Mar, the lazy, sun-drenched retirement haven on Spain’s Costa Del Sol. Lately this sleepy hamlet, home to hordes of well-heeled, well-fattened British and French expatriates, has come alive with activity and culture; the previously passive, isolated residents have begun staging boat races, tennis competitions, revivals of Harold Pinter plays, and lavish parties. At night the once vacant streets are now teeming with activity, bars and cafes packed with revelers, the sidewalks crowded with people en route from one event to the next.
Outward appearances suggest the wholesale adoption of a new ethos of high-spirited, well-controlled collective exuberance. But there’s the matter of the fire: The house and household of an aged, wealthy industrialist has gone up in flames, claiming five lives, while virtually the entire town stood and watched. There’s the matter of the petty crime, the burglaries, muggings, and auto thefts which have begun to nibble away at the edges of Estrella Del Mar’s security despite the guardhouses and surveillance cameras. There’s the matter of the new, flourishing trade in drugs and pornography. And there’s the matter of Frank Prentice, who sits in Marbella jail awaiting trial for arson and five counts of murder, and who, despite being clearly innocent, has happily confessed.
It is up to Charles Prentice, Frank’s brother, to peel away the onionlike layers of denial and deceit which hide the rather ugly truth about this seaside idyll, its residents, and the horrific crime which brought him here. But as is usually the case in a J.G. Ballard book, the truth comes with a price tag attached, and likely without any easing of discomfort for his principal characters.
Cocaine Nights marks a partial return on Ballard’s part to the provocative, highly-successful mid-career methodology employed in novels such as Crash and High Rise: after establishing himself as a science fiction guru in the 1960s, Ballard stylistically shifted gears towards an unnerving, futuristic variant on social realism in the 1970s. Both Crash and High Rise were what-if novels, posing questions as to what the likely results would be if our collective fascination with such things as speed, violence, status, power, and sex were carried just a little bit further: How insane, how brutal could our world become if we really cut loose?
Cocaine Nights asks a question better suited to the ’90s, the age of gated communities and infrared home security systems: Does absolute security guarantee isolation and cultural death? Conversely, is a measure of crime an essential ingredient in a vibrant, living, properly functioning social system? Is it true, as a character asserts, that “Crime and creativity go together, always have done,” and that “total security is a disease of deprivation”? Suffice to say that the answers presented in Nights will be anathema to moral absolutists; the world of Ballard’s fiction, like life in the hyperkinetic, relativistic 1990s, abounds with uncomfortable grey areas.
On the surface, Cocaine Nights is a whodunit and a race against time, but as it proceeds – and as preconceived conceptions of good and evil begin to dissolve – it evolves into a thoughtful, faintly frightening look at under-examined aspects of 1990s western society. As is his wont, Ballard confronts his readers with some faintly outlandish hypotheses unlikely to be embraced by many, but which nonetheless serve to provoke both thought and a bit of paranoia; it’s a method that Ballard has developed and refined on his own, and as usual, it propels his novel along marvellously.
Cocaine Nights doesn’t have either the broad sweep or brute impact of the landmark Crash, but it retains enough social relevance and low-key creepiness to more than satisfy Ballardphiles. As is often the case in Ballard’s alternate reality, it’s a given that his most appealing, human characters turn out to be the most twisted, and that even the most normal of events turn out to be governed by a perverse, malformed logic; that this logic turns out to be grounded in sound sociological and psychological principles is its most horrific feature.
David B. Livingstone

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'Who knows, though? Some sort of hysterical outburst?'

'Charles, come on.' His spirits lightening, Crawford took my arm. 'Be honest with yourself. Women are never that hysterical. In my experience, they're intensely realistic. We men are far more emotional.'

'Then what can I do?' I unlocked the driver's door of the Renault and fiddled with the keys, reluctant to take my seat. 'I need all the help I can get. We can't just leave Frank to rot. The lawyer estimates he'll get at least thirty years.'

'The lawyer? Senor Danvila? He's thinking of his fees. All those appeals…' Crawford opened the door and beckoned me into the driver's seat. He took off his sunglasses and stared at me with his friendly but distant eyes. 'Charles, there's nothing you can do. Frank will solve this one himself. He may be playing his end-game, but it's only just begun, and there are sixty-three other squares on the board…'

6 Fraternal Refusals

The retirement pueblos lay by the motorway, embalmed in a dream of the sun from which they would never awake. As always, when I drove along the coast to Marbella, I seemed to be moving through a zone that was fully accessible only to a neuroscientist, and scarcely at all to a travel writer. The white facades of the villas and apartment houses were like blocks of time that had crystallized beside the road. Here on the Costa del Sol nothing would ever happen again, and the people of the pueblos were already the ghosts of themselves.

This glacier-like slowness had affected my attempts to free Frank from Zarzuella jail. Three days after Bibi Jansen's funeral I left the Los Monteros Hotel, carrying a suitcase filled with fresh clothes for Frank's court appearance in Marbella that morning. I had packed the case in his apartment at the Club Nautico after a careful search through his wardrobe. There were striped shirts, dark shoes and a formal suit, but as they lay on the bed they resembled the elements of a costume that Frank had decided to discard. I hunted the drawers and tie-rack, unable to make up my mind. The real and far more elusive Frank seemed to have turned his back on the apartment and its dusty past.

At the last moment I threw in some pens and a block of writing paper-the latter suggested by Senor Danvila in the vain hope of persuading Frank to withdraw his confession. Frank would be brought from Malaga to attend the hearing in the magistrates' court, a formal identification of the five victims by Inspector Cabrera and the autopsy pathologists. Afterwards, Senor Danvila told me, I would be able to speak to Frank.

As I parked in a narrow street behind the courthouse I weighed what I would say to him. More than a week of amateur sleuthing had yielded nothing. Naively, I had assumed that the unanimous belief in Frank's innocence held by his friends and colleagues would somehow force out the truth, but in fact that unanimity had only wrapped another layer of mystery around the Hollinger murders. Far from springing the lock of Frank's prison cell it had given the key another turn.

Nevertheless, five people had been killed, by someone almost certainly still walking the streets of Estrella de Mar, still eating sushi and reading Le Monde, still singing in a church choir or modelling clay at a sculpture class.

As if unaware of this, the hearing at the magistrates' court unfolded in its interminable way, a Mobius strip of arcane procedures that unwound, inverted themselves and returned to their departure points. Lawyers and journalists each embrace a rival physics where motion and inertia reverse themselves. I sat behind Senor Danvila, only a few yards from Frank and his translator, as the pathologists testified, stood down and testified again, body by body, death by death.

Eager to talk to Frank, I was surprised by how little he had changed. I expected him to be thin and drained by the grey hours of sitting alone in his cell, forehead harrowed by the stress of maintaining his absurd bluff. He was paler, as the sunlight of Estrella de Mar faded from his face, but he seemed composed and at ease with himself, offering me a ready smile and a handshake quickly cut off by his police escort. He took no part in the proceedings, but listened intently to his translator, emphasizing for the magistrate's benefit his central role in the events described.

When he left the court he gave me a wave of encouragement as if I were about to follow him into the headmaster's study. I waited on a hard seat in the public corridor, deciding to avoid a direct confrontation. Bobby Crawford had been right to say that the initiative lay with Frank, and by sticking to pleasantries I might force him to show his hand.

'Mr Prentice, I must apologize…' Senor Danvila hurried towards me, mournful face agitated by yet another setback. His hands fumbled at the air as if searching for an exit from this ever-more-confusing case. 'I'm sorry for making you wait, but a small problem has arisen…'

'Senor Danvila…?' I tried to calm him. 'When can I see Frank?'

'There's a difficulty for us.' Senor Danvila searched for his absent briefcases, eager to shuffle them. 'It's hard for me to say. Your brother does not wish to see you.'

'Why not? I don't believe it. This whole thing's becoming absurd.'

'My sentiments too. I was with him a moment ago. He spoke very clearly.'

'But why? For heaven's sake… you told me yesterday that he'd agreed.'

Danvila gestured to a statue in a nearby alcove, calling on this alabaster knight to be his witness. 'I spoke to your brother both yesterday and the day before. He did not refuse until now. My sympathies, Mr Prentice. Your brother has his own reasons for making up his mind. I can only advise him.'

'It's ridiculous…' I sat wearily on the bench. 'He's determined to convict himself. What about bail? Is there anything we can do?'

'Impossible, Mr Prentice. There are five murders and a confession of guilt.'

'Can we get him declared insane? Mentally incompetent to plead?'

'It's too late. Last week I contacted Professor Xavier of the Juan Carlos Institute in Malaga -a distinguished forensic psychiatrist. With the court's permission he was willing to examine your brother. But Frank refused to see him. He insists he is entirely sane. Mr Prentice, I have to agree with him…'

Dazed by all this, I waited outside the courthouse, hoping to see Frank taken to one of the police vans for his return journey to Malaga. But after ten minutes I gave up and returned to my car. The snub hurt. Frank's refusal was not only a rejection of my traditional role as protective older brother, but a clear signal that he wanted me away from Marbella and Estrella de Mar. A deviant logic was at work, driving him towards decades of confinement in a provincial Spanish prison, an ordeal he seemed so calmly to welcome.

I drove back to Los Monteros and walked along the beach, a forlorn shelf of ochre sand littered with driftwood and waterlogged crates, like the debris of a ransacked mind. After lunch I slept through the afternoon in my room, waking at six to the sounds of serve and volley from the hotel's tennis courts. I sat up and began to write one of my longest letters to Frank, reaffirming my faith in his innocence, and asking him for the last time to withdraw his confession to an atrocious crime that not even the police believed he had committed. If I had no reply from him I would leave for London and return only for the trial.

It was dusk when I sealed the letter, and the lights of Estrella de Mar trembled across the dark water. My senses sharpened as I gazed at this private peninsula with its theatre clubs and fencing classes, its louche psychiatrist and handsome doctor with her bruised face, its tennis professional obsessed by his serving machine, and its deaths in high places. I was sure that the solution to the Hollinger murders lay not in Frank's involvement with the retired film producer but in the unique nature of the resort where he had died.

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