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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'Everyone. The key Costasol crowd. Betty Shand, Colonel Lindsay, most of his council, the Keswick sisters-all the leading lights. It should be quite a bash. Betty Shand's supplying everything – buffet, champagne, canapés 'And enough Unes of cocaine to burn out my nasal septum?'

'I dare say. Hennessy says there'll be a special barbecue. Let's hope we don't burn the place down.'

'And Crawford will be there?'

'To begin with. Then he'll leave us to it. He has to clear out his things and get off to Calahonda.'

'So it's a hand-over ceremony…' Paula was nodding to herself, her lower Up clamped between her teeth. Her face was paler, as if her blood had suddenly chilled. 'He'll officially pass his Pan-pipes to you.'

'In a way. Before the party I'll play a last game of tennis with him.'

'He'll let you beat him.' She unlocked and closed the valise, then adjusted my inkstand and noticed the set of car keys that I had found in the orchard at the Hollinger house. She picked them up and weighed them in her hand. 'The keys to your kingdom – to all Bobby Crawford's secret places?'

'No, they're a spare set of car keys. I found them in the… changing rooms at the Club Nautico. I've tried them out on dozens of cars, but none of them match. I ought to give them to Hennessy.'

'Hang on to them – you never know when they might come in useful.' Carrying the valise, she walked to the door, then turned to stare at me before kissing my cheek. 'Enjoy the tennis match. Perhaps you should tie your hands behind your back – it's the only way you might lose I stepped on to the balcony and watched her drive away, blaring her horn at the tourists who crowded the plaza, as if refusing to acknowledge the festival cheer. Already I looked forward to dancing with her that evening. As she had said, the party was a transfer ceremony, though in many ways I had already taken over the running of Crawford's activities at the Residencia. For weeks he had spent more and more of his time away from the complex, exploring Calahonda and testing out the possibilities of his tonic regime. The administration of his underground imperium he left to me, confident that I now accepted the importance of everything he had achieved. Of my original doubts, all had gone except for those concerning his treatment of Laurie Fox. He had cared for and charmed her, constantly at her side as they roamed the bars and clubs in the evening. But he made no attempt to curb her cocaine and amphetamine hunger, as if this bruised and deteriorating young woman was an exotic creature to be exhibited in all her feral glory.

I knew that he was punishing Sanger for the sins of those psychiatrists who had failed to help him when he was a child. During the film sessions at the villa, when Laurie had sex in my bed with Yuri Mirikov, Betty Shand's Russian Adonis, Crawford would sometimes remove the black shrouds from the windows, taunting Sanger as the film lights blazed over the bungalow compound. She had slept with Sanger, he seemed to say, and perhaps with her father, and now with any man whom Crawford picked out during their tour of the evening bars.

I took no part in these ugly sessions, which had grown out of the film club I founded, just as I tried not to involve myself too closely in the criminal conspiracy that underpinned the life of the Residencia – the drugs supplied by Mahoud and Sonny Gardner to the network of dealers, the massage and escort services which had recruited so many bored widows and a few adventurous wives, the 'creative' cabarets that entertained the more corrupt parties, and the muscle squad of two former British Airways executives who quietly burgled and vandalized their way across the Residencia, damaging cars and fouling swimming pools in the cause of civic virtue.

Sitting at my desk, I listened to the strains of Iolanthe and thought of Paula Hamilton. Once Crawford had left the Residencia the creative tension he had imposed would begin to relax. I would see more of her again, play tennis with her and perhaps share the costs of a small yacht. I imagined us sailing along the coast, secure in our private world, as the cutwater clicked and the bottles of white Burgundy cooled in our wake…

Spray struck the awning of the poolside bar. A sudden uproar had broken out on the terrace, the sounds of overturned furniture and angry voices, followed by a woman's hysterical cries somewhere between laughter and pain. Drawn by the clamour, tourists were crossing the car park and firing the last of their plastic streamers towards the pool. Cheering each other on, they scrambled over the waist-high perimeter fence and climbed the grass verge to the open-air bar.

I left my office and quickly made my way down to the petal-strewn terrace. The members around the pool had left their sun-loungers and were gathering up their towels and magazines. Some laughed uneasily, but most seemed dismayed, hands shielding their faces from the spray. Elizabeth Shand had retreated behind the counter of the bar, and was snapping at the waiters and urging them towards the water. She shouted to Bobby Crawford, who stood on the diving board, calmly observing the spectacle in the pool.

'Bobby, for heaven's sake, this is too much! Can't you stop them? Charles, where are you? Speak to him!'

I stepped through the tourists crowding against the tables. Laurie Fox was swimming naked in the pool, thrashing the waves with her arms while the blood streamed from her nose. Her thighs were clasped around Mirikov's waist as she tried to have sex with him in the water. Screaming at the sky, she pressed her bloodied breasts to his mouth, then turned and began to shout at the watching tourists. One hand fumbled for the Russian's crotch as the other beat the surface, dashing the bloodied water against the legs of the appalled onlookers.

Then a silver-haired man forced himself past me, drops of spray on his clenched lips. Ignoring Crawford, who stood at ease on the diving board, Sanger pushed through the hooting tourists and kicked aside the tables. Without removing his shoes, he leapt into the shallow end and waded strongly through the waist-deep water. He pulled the embarrassed Mirikov on to his back, dunking the Russian's blond head. As Laurie Fox screamed in her demented way, spitting out the blood she had sucked into her mouth, Sanger seized her around the waist. He lost his footing in the deeper water, and they rolled together in the carmine waves. Silver hair now flecked with blood, Sanger held the young woman to his chest and carried her to the shallow end.

Everyone moved away as I knelt down and lifted her from his arms. Together we laid her on the verge among the sodden petals and confetti. I took a towel from a nearby sun-lounger and draped it over her shoulders, trying to staunch the blood from her nose. Sanger sat beside her, too exhausted to take her hand, water streaming from his silk jacket. He seemed blanched and shrunken, as if emerging from a bath of formaldehyde, but his eyes were steady and unevasive as he stared across the bloodied pool at Bobby Crawford.

When he was strong enough to stand, I helped him to his feet. Still dazed, he stared at the barely conscious young woman, brusquely waving away the now silent tourists who crowded the tables.

'We'll carry her to my car,' I told him. 'I'll give you a lift home. It's best if she stays with you from now on…'

26 The Last Party

Leaving the bedroom door ajar, Sanger watched the sleeping young woman for a few moments before turning to me. He gestured with the kidney dish and hypodermic that he held in his hand, as if ready to offer me a sedative dose, and touched the dark stains on his jacket, reminding himself that the blood was not his own. His usually pallid cheeks and forehead were flushed with anger, and he gazed in a disoriented way at the books on his shelves, putting a past phase of his life, with its too-thoughtful dependencies, for ever behind him.

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