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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The cabin-cruiser circled the floating debris of the speedboat, its crew hunting the waves. I assumed that the thief would be swimming towards the rocks below the watch-tower, to a rendezvous previously arranged with the car's driver, who waited for him like a chauffeur outside a stage-door after the evening's performance.

13 A View from the High Corniche

Crime at Estrella de mar had become one of the performance arts. As I drove David Hennessy from the Club Nautico to the harbour, the curving hillside above the town resembled an amphitheatre warmed by the morning sun. Residents sat on their balconies, some with binoculars, watching the Guardia Civil salvage launch drag the remains of the stolen speedboat into the shallows below the corniche road.

'Frogmen…?' Hennessy pointed to the goggled black heads moving among the waves. 'The police are taking it all very seriously.'

'They're under the impression that a crime has been committed.'

'Hasn't it? Charles…?'

'It was a piece of night-theatre, a water-borne spectacular to perk up the restaurant trade. A party of Middle East tourists played the clowns, with a chorus line of French good-time girls. Brutal, but great fun.'

'I'm glad to hear it.' Eyebrows raised, Hennessy tightened his seatbelt. 'And who played the villain? Or the hero, I should say?'

'I'm not sure yet. It was quite a performance – we all admired his style. Now, where exactly is Sansom's cottage?'

'In the old town above the harbour. Take the Calle Molina and I'll show you the turn-off. It's an unexpected side of Estrella de Mar.'

'Unexpected? The place is a set of Chinese boxes. You can go on opening them to infinity…'

Hennessy was closing Sansom's house, packing up his possessions before freighting them back to his cousins in Bristol. I was curious to see this weekend retreat, presumably the love-nest where Sansom had entertained Alice Hollinger. But I was still thinking of the speedboat thief playing his games with the cabin-cruiser. I remembered the eager eyes of the people emerging from the nightclubs along the quay, flushed by more than the copper sun of the exploding fuel tank.

We drove around the Plaza Iglesias, packed with residents drinking their morning espressos over copies of the Herald Tribune and the Financial Times. Scanning the headlines, I commented: 'The rest of the world seems a long way off. The scene last night was bizarre, I wish I'd filmed it. The whole waterfront came to life. People were sexually charged, like spectators after a bloody bull-fight.'

'Sexually charged? My dear chap, I'll take Betty down there tonight. She's obviously spent too much time with her water-colours and flower-arranging.'

'It was a show, David. Whoever stole the speedboat was putting on a performance. Someone with a taste for fire…'

'I dare say. But don't read too much into it. Boats are stolen all the time along the coast. Estrella de Mar is remarkably free from crime, compared to Marbella and Fuengirola.'

'That's not strictly true. In fact, there's a great deal of crime in Estrella de Mar, but of a unique kind. It seems unconnected, but I'm trying to piece it all together.'

'Well, let me know when you do. Cabrera will be glad of your help.' Hennessy guided me into the Calle Molina. 'How's the investigation going? You've heard from Frank?'

'I talked to Danvila this morning. There's a chance Frank may agree to see me.'

'Good. At last he's coming to his senses.' Hennessy was watching me obliquely, as if trying to read my thoughts through the sides of my eyes. 'Do you think he'll change his plea? If he's ready to see you…'

'It's too early to say. He may feel lonely, or realize how many doors are about to shut on him.'

I turned off the Calle Molina into a narrow roadway, one of the few nineteenth-century streets in Estrella de Mar, a terrace of renovated fishermen's cottages that ran behind the restaurants and bars of the Paseo Maritimo. The once modest dwellings in the cobbled street had been tastefully bijouized, the ancient walls pierced by air-conditioning vents and security alarms.

Sansom's house, painted a dove-egg blue, stood on a corner where the terrace was divided by a side-street. Lace curtains veiled the kitchen windows, but I could see lacquered beams and horse brasses, a ceramic hob and an antique stone sink with oak draining board. Beyond the inner windows lay a miniature garden like a powder-puff. Already I could sense the freedom that this intimate world would have given to Alice Hollinger after the vastness of the mansion on the hill.

'You'll come in?' Hennessy heaved himself from the car. 'There's some decent Scotch that needs to be finished.'

'Well… a few drinks always make the car go better. Have you found any of Alice Hollinger's things?'

'No. Why on earth should I? Have a look round. You'll find it interesting.'

While Hennessy unlocked the front door I worked the wrought-iron bell-push, eliciting a few bars of Satie from the electronic annunciator. I followed Hennessy into the sitting room, a chintzy arbour of fluffy rugs and elegant lampshades. Packing chests stood on the floor, partly filled with shoes, walking-sticks and expensive leather shaving tackle. Half a dozen suits lay on the settee, next to a pile of monogrammed silk shirts.

'I'm sending all this stuff to the cousins,' Hennessy told me. 'Not much to remember the fellow by, a few suits and ties. Decent chap-he was very formal up on the hill, but when he came here he changed into another personality, rather blithe and carefree.'

Beyond the sitting room was a dining alcove with a small blackwood table and chairs. I imagined Sansom having two lives, a formal one with the Hollingers and a second down here in this doll's-house of a cottage, furnished as a second boudoir for Alice Hollinger. Her husband's discovery of the affair might have released an anger strong enough to consume the entire mansion. The notion of Hollinger committing suicide had never occurred to me, a Wagnerian immolation that might have appealed to a film producer, he and his unfaithful wife dying with their lovers in a gigantic conflagration.

When Hennessy returned with a tray and glasses I commented: 'You say there's nothing of Alice Hollinger's here. Isn't that rather strange?'

Hennessy poured the pale malt into our glasses. 'But why, dear chap?'

'David…' I paced around the sitting room, trying to adjust my mind to this half-sized world. 'We have to assume that she and Sansom were having an affair. It may have been going on for years.'

'Unlikely.' Hennessy savoured the whisky's bouquet. 'In fact, wholly impossible.'

'They died in his bed together. He was gripping her shoes, obviously part of some weird fetishistic game they played. It's enough to make Krafft-Ebing sit up in his grave and whistle. If Hollinger learned of the affair he must have been devastated. Life would have had no meaning for the poor man. He toasts the Queen for the last time and then commits his version of hara-kiri. Five people die. Perhaps Frank, unwittingly, told Hollinger about the affair. He realizes he is responsible, and pleads guilty.' I looked hopefully at Hennessy. 'It might be true…'

'But it isn't.' Hennessy smiled judiciously into his whisky. 'Come into the kitchen. It's hard to think clearly in here. I feel like a character in the Alice books.'

He stepped into the kitchen and sat at the glass-topped table as I prowled around the dainty space with its burnished copper pans and earthenware dishes, niched tea-towels and tissue rolls. Above the stone sink was a notice-board covered with personal miscellanea: holiday postcards from Sylt and Mykonos, pasta recipes torn from a Swedish magazine, and photographs of handsome young men in minuscule swimming thongs lounging on a diving raft or lying side by side on a shingle beach, naked as seals.

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