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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Nonetheless, Wilder welcomed and understood the night-only in the darkness could one become sufficiently obsessive, deliberately play on all one's repressed instincts. He welcomed this forced conscription of the deviant strains in his character. Happily, this free and degenerate behaviour became easier the higher he moved up the building, as if encouraged by the secret logic of the high-rise.

The 10th-floor concourse was deserted. Wilder pushed back the staircase doors with their shattered glass and walked out on to the shopping mall. The bank had closed, along with the hairdressing salon and the liquor store. The last supermarket cashier-the wife of a cameraman on the 3rd floor-sat stoically at her check-out point, presiding like a doomed Britannia over a sea of debris. Wilder strolled around the empty shelves. Rotting packs floated in the greasy water at the bottom of the freezer cabinets. In the centre of the supermarket a pyramid of dog-biscuit cartons had collapsed across the aisle.

Wilder filled a basket with three of the cartons and half a dozen cans of cat-meat. Together they would keep Helen and the boys alive until he could break into an apartment and raid a food cache.

"There's nothing here but pet food," he told the cashier at the check-out. "Have you stopped ordering?"

"There's no demand," she told him. She played absent-mindedly with an open wound on her forehead. "Everyone must have stocked up months ago."

This was not true, Wilder reflected as he walked away towards the elevator lobby, leaving her alone on the huge concourse. As he knew full well, having broken into any number of apartments, few people had any reserve supplies whatever. It was as if they were no longer giving any thought to what they might need the next day.

Fifty feet away, beyond the overturned hair-driers lying outside the salon, the elevator indicator lights moved from right to left. The last public elevator of the day was winding itself up the building. Somewhere between the 25th and 30th floors it would be brought to a halt at the whim of a look-out, marking the end of the mid-day armistice and the beginnings of another night.

Without thinking, Wilder quickened his pace. He reached the doors as the elevator paused at the 9th floor to discharge a passenger. At the last moment, as it resumed its ascent, Wilder pressed the button.

In the few seconds that remained before the doors opened he realized that he had already decided to abandon Helen and his sons for good. Only one direction lay before him-up. Like a climber resting a hundred feet from the summit, he had no option but to ascend.

The elevator doors opened. Some fifteen passengers faced him, standing rigidly together like plastic mannequins. There was a fractional movement of feet as a space was made for Wilder.

Wilder hesitated, controlling his impulse to turn and run down the staircase to his apartment. The eyes of the passengers were fixed on him, wary of his indecision and suspecting that it might conceal a ruse of some kind.

As the doors began to close Wilder stepped forward into the elevator, the cine-camera raised in front of him, and began once again his ascent of the high-rise.

13. Body Markings

After a delay of twenty minutes, as irritating as a holdup at a provincial frontier post, the elevator moved from the 16th to the 17th floor. Exhausted by the long wait, Wilder stepped through the doors into the lobby, looking for somewhere to throw away his cartons of pet food. Crammed together shoulder to shoulder, the returning cost-accountants and television executives held tightly to their briefcases, eyes averted from each other as they stared at the graffiti on the walls of the car. The steel roof had been removed, and the long shaft rose above their heads, exposed to anyone with a missile casually to hand.

The three passengers who stepped out with Wilder vanished among the barricades that lined the dimly lit corridors. When Wilder reached the Hillmans' apartment he found that the door was securely bolted. There were no sounds of movement from within. Wilder tried without success to force the lock. Conceivably the Hillmans had abandoned the apartment and taken shelter with friends. Then he heard a faint scraping from the hall. Pressing his head to the door, he heard Mrs Hillman remonstrating with herself in a thin voice as she pulled a heavy object across the floor.

After a prolonged tapping and negotiation, during which Wilder was obliged to speak to her in her own wheedling tone, he was admitted to the apartment. A huge barricade of furniture, units of kitchen equipment, books, clothes and table ornaments blocked the hallway, a miniature municipal dump in its own right.

Hillman lay on a mattress in the bedroom. His head was bandaged in a torn evening-dress shirt, through which the blood had seeped on to the pillow. He raised his head as Wilder came in, his hand searching for a section of balcony railing on the floor beside him. Hillman had been one of the first scapegoats to be selected and attacked-his brusque and independent manner made him a natural target. During a raid on the next floor he had been hit on the head by a television award-winner's statuette as he tried to order his way up a defended staircase. Wilder had carried him back to his apartment and spent the night looking after him.

With her husband out of commission, Mrs Hillman depended totally on Wilder, a dependence that he himself in a way enjoyed. When Wilder was away she spent all her time worrying about him, like an over-anxious mother fretting about a wayward child, though as soon as he arrived she forgot who he was.

She tugged at Wilder's sleeve as he looked down at Hillman. She was more concerned about her barricade than her husband and his ominous disturbances of vision. Almost everything movable in the apartment, however small, she had added to the barricade, at times threatening to entomb them for good. Each night Wilder slept through the few hours before dawn slumped in an armchair partly embedded in the barricade. He would hear her moving tirelessly around him, adding a small piece of furniture she had found somewhere, three books, a single gramophone record, her jewellery box. Once Wilder woke to find that she had incorporated part of his left leg. Often it would take him half an hour to dig his way out of the apartment.

"What is it?" Wilder asked her irritably. "What are you doing to my arm?" She was peering at the bag of dog-food, which Wilder, in the absence of any furniture, had been unable to put down. For some reason, he did not want it added to the barricade.

"I've been cleaning up for you," she told him with some pride. "You wanted me to, didn't you?"

"Of course…" Wilder gazed around the apartment in a lordly way. In fact, he barely noticed any changes and, if anything, preferred the apartment to be dirty.

"What's this?" She poked excitedly at the carton, jabbing him roguishly in the ribs as if she had caught a small son with a secret present for her. "You've got a surprise!"

"Leave it alone." Roughly, Wilder fended her away, almost knocking her off her feet. In a way, he enjoyed these absurd rituals. They touched levels of intimacy that had never been possible with Helen. The higher up the building he moved the more free he felt to play these games.

Mrs Hillman wrestled a pack of dog-biscuits out of the bag. Her small body was surprisingly agile. She gazed at the overweight basset hound on the label. Both she and her husband were as thin as scarecrows. Generously, Wilder handed her a can of cat-meat.

"Soak the biscuits in gin-I know you've got a bottle hidden somewhere. It will do you both good."

"We'll get a dog!" When Wilder looked irritated by this suggestion she sidled up to him teasingly, pressing her hands against his heavy chest. "A dog? Please, Dicky…"

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