J. Ballard - High Rise

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High Rise: краткое содержание, описание и аннотация

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J.G. Ballard's 1975 novel "High Rise" contains all of the qualities we have come to expect from this author: alarming psychological insights, a study of the profoundly disturbing connections between technology and the human condition, and an intriguing plot masterfully executed. Ballard, who wrote the tremendously troubling "Crash," really knows how to dig deep into our troubling times in order to expose our tentative grasp of modernity. Some compare this book to William Golding's "Lord of the Flies," and there are definite characteristics the two novels share. I would argue, however, that "High Rise" is more eloquent and more relevant than Golding's book. Unfortunately, this Ballard novel is out of print. Try and locate a copy at your local library because the payoff is well worth the effort.
"High Rise" centers around four major characters: Dr. Robert Laing, an instructor at a local medical school, Richard Wilder, a television documentary producer, Anthony Royal, an architect, and the high rise building all three live in with 2,000 other people. Throughout the story, Ballard switches back and forth between these three people, recording their thoughts and actions as they live their lives in the new high-rise apartment building. Ballard made sure to pick three separate people living on different floors of the forty floor building: Laing lives on the twenty fifth floor, Wilder lives on the second floor, and Royal lives in a penthouse on the fortieth floor (befitting his status as the designer of the building). Where you live in this structure will soon take on an importance beyond life itself.
At the beginning of the story, most of the people living in the building get along quite well. There are the usual nitpicky problems one would expect when 2,000 people are jammed together, but overall people move freely from the top to the bottom floors. A person living on the bottom floors can easily go to the observation deck on the top of the building to enjoy the view, or shop at the two banks of stores on the tenth and thirty-fifth floors. Children swim and play in the pools and playgrounds throughout the high rise without any interference. Despite the fact that well to do people live in the building, with celebrities and executives on the top floors, middle-class people on the middle floors, and airline pilots and the like on the bottom ten floors, everyone gets along reasonably well-at first.
Then things change. The gossip level increases among the residents, and parties held on different floors start to exclude people from other areas. In quick succession, objects start to land on balconies, dropped by residents on higher levels. Equipment failures, such as electrical outages, lead to mild assaults between residents. Cars parked close to the building are vandalized, and a jeweler living on the fortieth floor does a swan dive out of the window. Every incident leads to further acts of violence and increasing chaos in the lives of those in the building. People begin to take a greater interest in what's going on where they live than in outside activities and jobs. As the violence escalates, elevators and lobbies on each floor turn into armed camps as the residents attempt to block any encroachments on their territory. What starts out as a book about living in a technological marvel quickly morphs into a study of how technology can cause human beings to regress back into primitivism. Moreover, Ballard tries to draw a correlation between the technology of the building and this descent into a Stone Age mentality. He shows in detail how the residents of the apartments sink back into the morass, passing through a classical Marxist structure of bourgeoisie-proletariat, moving on to a clan/tribal system, to a system of stark individuality. In short, Ballard tries to equate our striving towards individuality through technology with how we started out in our evolution as hunter-gatherers, as individuals seeking individual gains. The promise that technology will liberate the individual is not the highest form of evolution, argues Ballard, but is actually a return to the lowest forms of human expression.
Within a few pages of the story, I thought this might turn out to be very similar to a Bentley Little book. Little, nominally a horror writer but often a social satirist, often takes a situation like this and shows how people collapse under the pressures of modern life. My belief was not born out, however, not because Ballard doesn't take certain situations over the top but because he imbues his work with a significant philosophical subtext that Little would never write about. Bentley Little is all about focusing on the over the top, outrageous incidents of humanity's decline, whereas Ballard is more interested in serving as a preacher on anti-humanistic technology, thundering out a jeremiad concerning where we might go if we do not take the time to think very carefully about the society we wish to create.
"High Rise" is a dark, forbidding tale of woe that is sure to get a reaction from anyone who reads it. There seem to be few out there who can deliver such devastating blows to our love of technology as Ballard does in his works. This author is often referred to as a science fiction writer, but "High Rise" works just as well on a horror level. So does "Crash," when I think about it, although the cold, detached prose of that book is not present in "High Rise." Whatever genre Ballard falls into, this book delivers on every level.

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An hour later, when Wilder stepped out into the lavishly carpeted lobby of the 37th floor, he realized that he had discovered a second building inside the one that he had originally occupied. He left behind the young masseuse, endlessly climbing the service shafts and freight wells of the high-rise, transits that externalized an odyssey taking place inside her head. During his roundabout route with her-changing to a second freight elevator to climb three floors to the 28th, moving up and down a maze of corridors on the borders of hostile enclaves, until finally taking an upper-level elevator a journey of one storey-Wilder had seen the way in which the middle and upper levels of the building had organized themselves.

While his neighbours on the lower floors remained a confused rabble united only by their sense of impotence, here everyone had joined a local group of thirty adjacent apartments, informal clans spanning two or three floors based on the architecture of corridors, lobbies and elevators. There were now some twenty of these groups, each of which had formed local alliances with those on either side. There was a marked increase in vigilante activity of all kinds. Barriers were being set up, fire-doors locked, garbage thrown down the stairwells or dumped on rival landings.

On the 29th floor Wilder came across a commune composed exclusively of women, a cluster of apartments dominated by an elderly children's-story writer, a woman of intimidating physique and personality. Sharing an apartment with her were three air-hostesses from the 1st floor. Wilder walked gingerly down the corridor between their apartments, glad of the company of the young masseuse. What unsettled Wilder, as the women questioned him in pairs from their half-open doors, was their hostility to him, not only because he was a man, but because he was so obviously trying to climb to a level above their own.

He stepped out with relief into the deserted lobby of the 37th floor. He stood by the staircase doors, suspicious that no one was guarding the lobby. Conceivably the residents here were unaware of what was going on beneath their feet. The carpets in the silent corridors were thick enough to insulate them from hell itself.

He walked down the corridor towards Jane Sheridan's apartment. She might be surprised to see him, but Wilder was confident that he would spend the night with her. The next day he would move in permanently, and visit Helen and the boys on his way to and from the television studios.

As he pressed the bell he could hear her strong, masculine voice through the door, its tone familiar from countless television costume-dramas. At last the door opened, held on its latch chain. When she looked out at Wilder, recognizing him immediately, he knew that she had been waiting for him to arrive. She was detached and uneasy at the same time, like a spectator forced to watch someone about to be involved in an accident. Wilder remembered that he had given his destination to one of the women's vigilante groups.

"Jane, you're expecting me. I'm flattered."

"Wilder… I can't-"

Before Wilder could speak the door of the next apartment opened sharply. Staring at Wilder with undisguised hostility were a tax specialist from the 40th floor and an over-muscled choreographer with whom Wilder had often heaved a medicine ball in the 10th-floor gymnasium.

Realizing that his arrival had been anticipated by all these people, Wilder turned to leave, but the corridor behind him was blocked. A group of six residents had emerged together from the elevator lobby. They wore track suits and white sneakers, and at first sight looked like a middle-aged gymnasium dumb-bell team, each carrying his polished wooden clubs. Leading this antique but spritely troupe, which consisted of a stockbroker, two paediatricians and three senior academics, was Anthony Royal. As usual he wore his white safari-jacket, a costume which always irritated Wilder, the kind of garment that might be affected by an eccentric camp-commander or zoo-keeper. The corridor lighting flushed his blond hair and picked out the scars on his forehead, a confusing notation that hung like a series of mocking question marks over his stern expression. As he approached Wilder the chromium walking-stick flicked in his hand like a cane. Wilder watched the polished shaft catch the light, looking forward with pleasure to wrapping it around Royal's neck.

Although well aware that he had been trapped, Wilder found himself laughing aloud at the sight of this lunatic troupe. When the lights failed, first dipping warningly and then going out altogether, he backed against the wall to allow the group to pass. The wooden clubs clicked around him in the darkness, beating out a well-rehearsed tattoo. From the open door of Jane Sheridan's apartment a torch flared at him.

Around Wilder the dumb-bell troupe was beginning its act. The first clubs whirled in the torch-light. Without any warning, he felt a flurry of blows on his shoulders. Before he fell Wilder seized one of the clubs, but the others struck him to the carpeted floor at Anthony Royal's feet.

When he woke he was lying outstretched on a sofa in the ground-floor entrance lobby. Fluorescent lights shone around him, reflected in the glass ceiling-panels. With their toneless glow they seemed to have been shining for ever somewhere inside his head. Two residents returning late to the high-rise waited by the elevators. Holding tightly to their briefcases, they ignored Wilder, whom they clearly assumed to be drunk.

Aware of his bruised shoulders, Wilder reached up and nursed the swollen mastoid bone behind his right ear. When he could stand, he wandered away from the sofa towards the entrance and steadied himself against the glass doors. The lines of parked cars stretched through the darkness, enough transport to evacuate him to a thousand and one destinations. He walked out into the cold night air. Holding his neck, he looked up at the face of the high-rise. He could almost pick out the lights of the 37th floor. He felt suddenly exhausted, as much by the building's weight and mass as by his own failure. His casual and unthought-out attempt to scale the building had ended humiliatingly. In a sense he had been rejected more by the high-rise than by Royal and his friends.

Lowering his eyes from the roof, he saw that his wife, fifty feet above him, was watching from the balcony of their apartment. Despite his dishevelled clothes and bruised face she showed no concern, as if she no longer recognized him.

7. Preparations for Departure

High above, on the 40th floor, the first two residents were preparing to leave.

All day Anthony Royal and his wife had been packing. After lunch in the deserted restaurant on the 35th floor they returned to their apartment, where Royal spent what he knew would be his last hours in the high-rise closing down his design studio. In no hurry to leave, now that the moment had come for them to abandon the building, Royal deliberately took his time over this last ritual task.

The air-conditioning had ceased to function, and the absence of its vague familiar hum-once a source of minor irritation-made Royal restless. However reluctantly, he was now forced to recognize what he had been trying to repress for the past month, despite the evidence of his eyes. This huge building he had helped to design was moribund, its vital functions fading one by one-the water-pressure falling as the pumps faltered, the electrical sub-stations on each floor switching themselves off, the elevators stranded in their shafts.

As if in sympathy, the old injuries to his legs and back had begun to keen again. Royal leaned against his drawing-stand, feeling the pain radiate upwards from his knees into his groin. Gripping the chromium cane, he left the studio and moved among the tables and armchairs in the drawing-room, each shrouded in its dust-sheet. In the year since his accident he had found that constant exercise alone held back the pain, and he missed the games of squash with Robert Laing. Like his own physicians, Laing had told him that the injuries sustained in car-crashes took a great deal of time to heal, but Royal recently had begun to suspect that these wounds were playing a devious role of their own.

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