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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18. The Blood Garden

By contrast, Anthony Royal, high on the open roof three floors above, had never been more awake. Ready at last to join the sea-birds, he stood at the windows of his peat-house, looking out over the open plazas of the development project towards the distant mouth of the river. Washed by the recent rain, the morning air was clear but frozen, and the river flowed from the city like a stream of ice. For two days Royal had eaten nothing, but far from exhausting him the absence of food had stimulated every nerve and muscle in his body. The shrieking of the gulls filled the air, and seemed to tear at the exposed tissues of his brain. They rose from the elevator heads and balustrades in a continuous fountain, soared into the air to form an expanding vortex and dived down again towards the sculpture-garden.

Royal was certain now that they were calling for him. He had been deserted by the dogs-as soon as he freed them they had disappeared into the stairways and corridors below-and only the white alsatian remained. It sat at Royal's feet by the open windows, mesmerized by the movement of the birds. Its wounds had healed now, and its thick arctic coat was white again. Royal missed the stains, as he did the bloody hand-prints that Mrs Wilder had washed from his jacket.

The little food Royal had taken with him before sealing himself into the penthouse he had given to the dog, but already he felt himself beyond hunger. For three days he had seen no one, and was glad to have cut himself off from his wife and neighbours. Looking up at the whirling cloud of gulls, he knew that they were the true residents of the high-rise. Without realizing it at the time, he had designed the sculpture-garden for them alone.

Royal shivered in the cold air. He wore his safari-jacket, and the thin linen gave him no protection against the wind moving across the concrete roof. In the over-lit air the white fabric was grey by comparison with Royal's chalk-like skin. Barely able to control himself, and uncertain whether the scars of his accident had begun to reopen themselves, he stepped on to the terrace and walked across the roof.

The gulls sidled around him, rolling their heads and wiping their beaks against the concrete. The surface was streaked with blood. For the first time Royal saw that the ledges and balustrades were covered with these bloody notches, the symbols of a mysterious calligraphy.

Voices sounded in the distance, a murmur of women. In the central section of the observation deck, beyond the sculpture-garden, a group of women residents had gathered for some kind of public discussion.

Unsettled by this intrusion into his private landscape, and its reminder that he was not yet alone in the apartment building, Royal retreated behind the rear wall of the sculpture-garden. The voices moved around him, talking away informally as if this were the latest of many similar visits. Perhaps he had been asleep during their previous excursions, or with the cooler weather they had decided to move their meeting place further along the roof to the shelter of his penthouse.

The vortex of birds was breaking up. As Royal returned to the penthouse the spiral had begun to disintegrate. The gulls dived away across the face of the building far below. Urging the alsatian ahead of him, Royal emerged from behind the rear wall of the sculpture-garden. Two of the women were standing inside the penthouse, one of them with a hand on the callisthenics machine. What startled Royal was their casual stance, as if they were about to move into a vacation villa they had recently rented.

Royal retreated behind an elevator head. After being alone with the birds and the white alsatian for so long the sight of these human intruders unsettled him. He pulled the dog against his legs, deciding to wait in the sculpture-garden until the visiting party had left.

He pushed back the rear door of the garden, and walked between the painted geometric forms. Dozens of the gulls surrounded him, crowded together on the tiled floor. They followed Royal expectantly, almost as if they had been waiting for him to bring something to them.

His feet slipped on the wet tiles. Looking down, he found a piece of gristle attached to his shoe. Pulling it away, he leaned against one of the concrete sculptures, a waist-high sphere that had been painted bright carmine.

When he drew his hand away it was wet with blood. As the birds strutted ahead, clearing an open space for him, he saw that the whole interior of the play-garden was drenched with blood. The tiled floor was slick with bright mucilage.

The alsatian snuffled greedily, wolfing down a shred of flesh lying by the edge of the paddling pool. Appalled, Royal stared at the blood-spattered tiles, at his bright hands, at the white bones picked clean by the birds.

It was late afternoon when Wilder woke. Cold air moved through the empty room, flicking at a newspaper on the floor. The apartment was without shadows. Wilder listened to the wind moving down the ventilation shafts. The screaming of the gulls had ended, as if the birds had gone away for ever. Wilder sat on the floor in a corner of the living-room, an apex of this untenanted cube. Feeling the pressure of his back against the wall, he could almost believe that he was the first and last occupant of this apartment building.

He climbed to his feet and walked across the floor to the balcony. Far below, he could see the thousands of cars in the parking-lots, but they were screened from him by a faint mist, part of the corroborative detail of a world other than his own.

Sucking at the traces of animal fat that clung to his fingers, Wilder entered the kitchen. The cupboards and refrigerator were empty. He thought of the young woman and her warm body in the elevator beside the pool, wondering whether to go back to her. He remembered her stroking his chest and shoulders, and could feel the pressure of her hands on his skin.

Still sucking his fingers, and thinking of himself abandoned in this huge building, Wilder stepped out of the apartment. The corridor was silent, the cold air stirring the tags of refuse on the floor. He carried the cine-camera in his left hand, but he was no longer certain what its function was, or why he had kept it with him for so long.

The silver pistol, by contrast, he recognized immediately. He held it in his right hand, pointing it playfully at the open doorways, and half-hoping that someone would come out to join him in his game. The top floors of the building had been partially invaded by the sky. He saw white clouds through an elevator shaft, framed in the skylight of the stairwell as he climbed to the 40th floor.

Feinting with the pistol, Wilder darted across the elevator lobby of the 40th floor. There were no barricades here, and a recent attempt had been made at housekeeping. The garbage-sacks had been removed, the barricades dismantled, the lobby furniture re-installed. Someone had scrubbed the walls, clearing away all traces of the graffiti, duty rosters and elevator embarkation times.

Behind him, a door closed in the wind, cutting off a shaft of light. Enjoying this game with himself in the empty building, and certain that someone would soon turn up to play with him, Wilder dropped to one knee and levelled the pistol at an imaginary assailant. He darted down the corridor, kicked back the door and burst into the apartment.

The apartment was the largest he had seen in the building, far more spacious than any others on the upper floors. Like the lobby and corridor, the rooms had been carefully cleaned, the carpets re-laid, the curtains hung around the high windows. On the polished dining-room table stood two silver candlesticks.

Impressed by this sight, Wilder wandered around the gleaming table. In some confused way he felt that he had already been here, many years before he came to this empty building. The high ceiling and masculine furniture reminded him of a house he had visited as a small child. He wandered around the refurnished rooms, almost expecting to find his childhood toys, a cot and playpen laid out for his arrival.

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