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Super-Cannes
J.G. BALLARD


Copyright

Fourth Estate

An imprint of HarperCollinsPublishers

77–85 Fulham Palace Road,

London W6 8JB

4thestate.co.uk

This edition published by Fourth Estate in 2014

First published in Great Britain by Flamingo in 2000

Copyright © J. G. Ballard 2000

The right of J. G. Ballard to be identified as the author of this work has been asserted by him in accordance with the Copyright, Design and Patents Act 1988.

Introduction © Ali Smith 2014

‘The Enormous Space’ © J. G. Ballard 1989

A catalogue record for this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

HarperCollinsPublishers has made every reasonable effort to ensure that any picture content and written content in this e-book has been included or removed in accordance with the contractual and technological constraints in operation at the time of publication.

Cover by Stanley Donwood

Ebook Edition © May 2013 ISBN: 9780007322183

Version: 2014-08-14

Table of Contents

Cover

Title Page

Copyright

Author’s Note

Introduction by Ali Smith

PART I

1 Visitors to the Dream Palace

2 Dr Wilder Penrose

3 The Brainstorm

4 A Flying Accident

5 The English Girl

6 A Russian Intruder

7 Incident in a Car Park

8 The Alice Library

9 Glass Floors and White Walls

10 The Hit List

11 Thoughts of Saint-Exupéry

12 A Fast Drive to Nice Airport

13 A Decision to Stay

14 Riviera News

15 A Residential Prison

16 Widows and Memories

17 Refuge at La Bocca

18 The Street of Darkest Night

19 Elopement

20 The Grand Tour

21 Drugs and Deaths

22 The Roof Deck

23 The Confession

24 Blood Endures

25 The Cardin Foundation

26 Flying Again

27 Darkness Curves

28 Strains of Violence

29 The Therapy Programme

30 Nietzsche on the Beach

PART II

31 The Film Festival

32 A Dead Man’s Tuxedo

33 The Coast Road

34 Course Notes and a Tango

35 The Analysis

36 Confession

37 A Plan of Action

PART III

38 The High Air

39 A New Folklore

40 The Bedroom Camera

41 The Streetwalker

42 Last Assignment

‘The Enormous Space’ by J. G. Ballard

About the Author

Also by the Author

About the Publisher

Author’s Note

A NOTE ON the local geography. Frequent visitors to the French Riviera will be familiar with Marina Baie des Anges, the vast apartment complex that lies like a second Colosseum under the Nice Airport flight path. The Pierre Cardin Foundation, at Miramar to the west of Cannes, is difficult to find but well worth a visit, and must be one of the strangest buildings in Europe. Port-la-Galère, nearby, is another architectural oddity, with its honeycomb facades worthy of Gaudi.

Antibes-les-Pins, at Golfe-Juan, is part of the high-tech Côte d’Azur that is rapidly replacing the old. An even better example, and the inspiration for Eden-Olympia, is the landscaped business park of Sophia-Antipolis, a few miles to the north of Antibes.

Super-Cannes is a luxury enclave on the heights above the Croisette, but the term might well refer to that whole terrain of science parks and autoroutes on the high ground above the Var plain. Together they make up Europe’s silicon valley, a world away from the casinos and belle époque hotels that define the Riviera of old.

Nostalgic Aviation, a cheerful museum of aircraft memorabilia, stands at the entrance to Cannes-Mandelieu Airport, and is a haven for flying buffs. On the new Riviera, even aviation is now consigned to a fondly remembered past.

J.G. Ballard

INTRODUCTION
BY ALI SMITH

‘There’s something about the novel that resists innovation,’ J. G. Ballard said. He said it more than once; it was something he was fond of saying even as he himself innovated, working away beneath and pulling up the floorboards of literary tradition, one eye on the contemporanea his novels happened to inhabit and the other on a very different clock, one ‘whose movements are virtually imperceptible but which cover giant periods of time as the human race evolved.’ Super-Cannes, which he published on the cusp not just of a new century but a new thousand years, makes inquiry into both – the time we inhabit and our place in evolutionary terms. It parallels the ancient mysteries of Eros and Thanatos alongside what’s called human progress. It rewrites (it seems literally to do this as it unfolds) the speed and expectations of English narrative while examining our warmth towards, our desire for, and the naivety and comfort in our nostalgia about, the novel form.

It’s as if he’s questioning the form’s uses to us, now, the postmodern, evolved, post-Nietzschean so-civilised human beings of the beginning of the next millennium, as he put it in an interview with John Gray:

We inhabit a house in which there are rooms that have never been unlocked, down in the basement. Now and then we’ve had a glimpse in these rooms and there are strange old cabinets and odd musical instruments. What sort of tunes do they play, one wonders, lying in the dust? … There is a darker corner of the human psyche which intrigues us, and which we feel might benefit us if we started to explore it. It’s almost a kind of murder mystery investigation. A crime happened, perhaps, or some strange event in the human past, and we are drawn to try and understand what happened.

What will happen when we go down to play in the dark of the self? What will happen when Nietzsche collides with the expectations of the super-rich exclusive-set beach-read? This: a brilliant hybrid, a glistening, riotous and deadpan piece of visionary slipstream – a brand-new kind of crime novel. Super-Cannes is the keystone of Ballard’s trilogy about gated communities, along with Cocaine Nights (1996) and Millennium People (2003), all three of which examine, via this gated microcosm, time, crime and psychopathology. It takes as its subject the liberal (seeming) nature of the giant corporations up against the truth about human instinct and human nature.

An exemplary good sort called David Greenwood has run amok, killing several work colleagues in Eden-Olympia, a science/business park plus paradisal residential complex nestling among the swimming pools in the hills above Cannes in the well-heeled south of France. Paul, an aviator who has badly damaged his knee (in a crash in a plane before it even left the ground), and his new and much younger wife, Jane – the middle-aged Paul is having what might be called a late romance – arrive in Super-Cannes from MaidaVale in their old classic Jaguar. It’s as if they’ve arrived in the future in a gorgeous clunky time-machine, ‘still locked into the past’, a past that’s ‘a huge phantom limb that aches and throbs’, so shockingly suddenly gone it’s like it’s been amputated.

Jane is taking Greenwood’s job. They inherit the mystery. Why would a good man living in a ‘suburb of paradise’ go mad, they wonder, looking down at how the ‘hundreds of blue ovals trembled like damaged retinas in the Provencal sun.’

The very first paragraph announces a collision between notions of heaven and territories of mental state. It declares a ‘waiting madness’, a ‘state of undeclared war’. It veers, in a few lines, from heaven via psychiatry all the way to murder, asking the question along the way about what shape an ‘intelligent city’ might take and tossing in – quite casually – a collision of ancient and modern cultural and aesthetic references from the mythical god of communication and the dead via the surrealists to The Tempest, the last of Shakespeare’s own late romances. This novel is full of resonances from and references to novels and texts (as well as all the film narrative riffs which might be expected in any suburb of Cannes); it’s actually a very bookish novel; a library literally litters it: Defoe, Saint-Exupéry, Connolly, Fitzgerald, Greene, Spark, Hardy, Stevenson, Proust, Conrad and Carroll – above all, Carroll: since this is a novel which deals simultaneously with the form’s real and seeming innocences, its nostalgias, its fetishised and subterranean urges, with its own very specific ‘Alice library’ at its core.

‘The French see the Alice books as a realistic picture of English life,’ Wilder Penrose says. He’s the park psychiatrist, the mindman, the Prospero, or puppetmaster, or God, of Super-Cannes (and a clinical, rational, reassuringly white-coated version of Angela Carter’s foul and clever dream-inventor in The Infernal Desire Machines of Doctor Hoffman).Names of characters in Ballard’s work tend to be almost camp in their resonances; the corrupted good man is inevitably called Greenwood, the protagonist and his wife have single-syllable-resonance names rather like children just arrived in this heaven/hell from a ‘How To Read’ infant primer. Penrose himself bears the name of one of the few truly revolutionary British surrealist artists of the twentieth century. But even here Ballard wants something beyond expectations. He wants a wilder Penrose, something even more surreal than surrealism itself, and maybe also a wilder kind of pen, to rise to the challenge of this newfound mystery territory (not forgetting all the attendant sexual punning too).

It looks, on the surface, like naturalism. It’s not long before it’s become much richer and stranger, a prose that reads as part clinical, part ritualised. But even as it’s all being spelled out to us, in a prose so seemingly utilitarian that it hides nothing, and even with our rather lame protagonist, a pawn ‘primed with fresh information’ so holy-fool-like that he blurts out the truth every time he gets closer to the mystery, something begins to form that’s well beyond the genred notions of murder mystery, something mysteriously uncategorisable (well, as anything other than Ballardian). Meanwhile Super-Cannes acts as fictive parody, even self-parody, with as many warnings and Scooby-Doo clues and red herrings as the average Agatha Christie.

Its warning is both melodrama and truly urgent. ‘Read this … you may be in danger.’ Its revelation is the dilettante, distracting nature of the usual kinds and mechanics of fiction. ‘Satisfied that I had virtually solved the mystery, I took a rose from the vase on the hall table and slipped it through my buttonhole,’ Paul says, like an idiot, on only page 50 in a novel which, while pointing out the inescapability of role, anatomises all role play and performance in a determination to get closer to what acting and action really are. Such solvings, such performances of control act as distractions from a frank reality which, as Ballard is at pains in his foreword to point out, is the root source of this thriller that writes itself, foresteps its own footprints, lets us know repeatedly, ritualistically, fetishistically, like a dripfeed, that we’re only being told so much, then unwinds like an increasingly wild and fevered nightmare in a prose so spareseeming and at the same time so near parody that the baroqueness of the truth, and its simultaneous mundanity, aren’t so much revealed as simply apparent, if we just look.

It’s a display of narrative’s irrelevant yet crucial effect on its readers in the face of the open secret, the lack of mystery at the heart of this novel, where Penrose, in Ballard’s brilliant anatomising of psychopathy, simply legitimises every possible taboo and crime in the name of entertainment – or maybe even just the dispelling of boredom.

In this, Super-Cannes performs, critiques, then effortlessly outsteps expectations of the novel form. Angela Carter, who recognised Ballard as one of the writers ‘the times shine through … so that we think they see more clearly than we do, whereas in reality they are making us see more clearly’, quotes him in an essay she wrote in the Orwell year, 1984: ‘I wanted a revolutionary fiction; I wanted the recognition of the whole domain of the unconscious, something British naturalistic fiction never attempted. I wanted a fiction of the imagination which would tell us the truth about ourselves.’

Will Paul escape? What will happen, in the novel’s vicious circling? ‘High up here in Super-Cannes, nothing matters.’ Its revelations aren’t revelations – deep down we knew them all along – and they’re coruscating, blasting, and very everyday. Its long-view version of the human story blows the fictions out of the water. It both rips up and pays homage to the library. It tells no lies. It transforms the act of fiction. What a great novel.

Cambridge, 2014

Quotes are from Extreme Metaphors, and Shaking a Leg: Angela Carter’s Collected Journalism and Writings

PART I

1 Visitors to the Dream Palace

THE FIRST PERSON I met at Eden-Olympia was a psychiatrist, and in many ways it seems only too apt that my guide to this ‘intelligent’ city in the hills above Cannes should have been a specialist in mental disorders. I realize now that a kind of waiting madness, like a state of undeclared war, haunted the office buildings of the business park. For most of us, Dr Wilder Penrose was our amiable Prospero, the psychopomp who steered our darkest dreams towards the daylight. I remember his eager smile when we greeted each other, and the evasive eyes that warned me away from his outstretched hand. Only when I learned to admire this flawed and dangerous man was I able to think of killing him.


Rather than fly from London to Nice, a journey as brief as a plastic-tray lunch, Jane and I decided to drive to the Côte d’Azur and steal a few last days of freedom before we committed ourselves to Eden-Olympia and the disciplines of the Euro-corporate lifestyle. Jane was still unsure about her six-month secondment to the business park’s private clinic. Her predecessor, a young English doctor named David Greenwood, had met a tragic and still unexplained death after running amok with a rifle. By chance, Jane had known Greenwood when they worked together at Guy’s Hospital, and I often thought of the boyishly handsome doctor who could rouse an entire women’s ward with a single smile.

Memories of Greenwood were waiting for us at Boulogne as the Jaguar left the cross-Channel ferry and rolled its wheels across the quayside. Going into a tabac for a packet of Gitanes – illicit cigarettes had kept both of us sane during my months in hospital – Jane bought a copy of Paris Match and found Greenwood’s face on the cover, under a headline that referred to the unsolved mystery. As she sat alone on the Jaguar’s bonnet, staring at the graphic photographs of murder victims and the grainy maps of the death route, I realized that my spunky but insecure young wife needed to put a few more miles between herself and Eden-Olympia.

Rather than overheat either Jane’s imagination or the Jaguar’s elderly engine, I decided to avoid the Autoroute du Soleil and take the RN7. We bypassed Paris on the Périphérique, and spent our first evening at a venerable hotel in the forest near Fontainebleau, spelling out the attractions of Eden-Olympia to each other and trying not to notice the antique hunting rifle on the dining-room mantelpiece.

The next day we crossed the olive line, following the long, cicada miles that my mother and father had motored when they first took me to the Mediterranean as a boy. Surprisingly, many of the old landmarks were still there, the family restaurants and literate bookshops, and the light airfields with their casually parked planes that had first made me decide to become a pilot.

Trying to distract Jane, I talked far too much. During the few months of our marriage I had told my doctor-bride almost nothing about myself, and the drive became a mobile autobiography that unwound my earlier life along with the kilometres of dust, insects and sun. My parents had been dead for two decades, but I wanted Jane to meet them, my hard-drinking, womanizing father, a provincial-circuit barrister, and my lonely, daydreaming mother, always getting over yet another doomed affair.

At a hotel in Hauterives, south of Lyons, Jane and I sat in the same high-ceilinged breakfast room, unchanged after thirty-five years, where the stags’ heads still gazed over shelves stocked with the least enticing alcohol I had ever seen. My parents, after their usual bickering breakfast of croissants and coffee helped down by slugs of cognac, had dragged me off to the dream palace of the Facteur Cheval, a magical edifice conjured out of pebbles the old postman collected on his rounds. Working tirelessly for thirty years, he created an heroic doll’s house that expressed his simple but dignified dreams of the earthly paradise. My mother tipsily climbed the miniature stairs, listening to my father declaim the postman’s naive verses in his resonant baritone. All I could think of, with a ten-year-old’s curiosity about my parents’ sex-lives, was what had passed between them during the night. Now, as I embraced Jane on the parapets of the dream palace, I realized that I would never know.

Cheval might have survived, but the France of the 1960s, with its Routier lunches, anti-CRS slogans and the Citroën DS, had been largely replaced by a new France of high-speed monorails, MacDo’s, and the lavish air-shows that my cousin Charles and I would visit in our rented Cessna when we founded our firm of aviation publishers. And Eden-Olympia was the newest of the new France. Ten miles to the north-east of Cannes, in the wooded hills between Valbonne and the coast, it was the latest of the development zones that had begun with Sophia-Antipolis and would soon turn Provence into Europe’s silicon valley.

Lured by tax concessions and a climate like northern California’s, dozens of multinational companies had moved into the business park that now employed over ten thousand people. The senior managements were the most highly paid professional caste in Europe, a new elite of administrators, énarques and scientific entrepreneurs. The lavish brochure enthused over a vision of glass and titanium straight from the drawing boards of Richard Neutra and Frank Gehry, but softened by landscaped parks and artificial lakes, a humane version of Corbusier’s radiant city. Even my sceptical eye was prepared to blink.

Studying the maps, I propped the brochure on my knee-brace as Jane steered the Jaguar through the afternoon traffic on the Grasse road. The stench of raw perfume from a nearby factory filled the car, but Jane wound down her window and inhaled deeply. Our disreputable evening in Arles had revived her, swaying arm in arm with me after a drunken dinner, exploring what I insisted was Van Gogh’s canal but turned out to be a stagnant storm-drain behind the archbishop’s palace. We had both been eager to get back to our hotel and the well-upholstered bed.

The colour was returning to her face, for almost the first time since our wedding. Her watchful eyes and toneless skin were like those of an over-gifted child. Before meeting me, Jane had spent too many hours in elevators and pathology rooms, and the pallor of strip lighting haunted her like a twelve-year-old’s memories of a bad dream. But once we left Arles she rose to the challenge of Eden-Olympia, and I could hear her muttering to herself, rehearsing the risqué backchat that so intrigued the younger consultants at Guy’s.

‘Cheer me up, Paul. How much further?’

‘The last mile – always the shortest one. You must be tired.’

‘It’s been a lot of fun, more than I thought. Why do I feel so nervous?’

‘You don’t.’ I pressed her hand against the wheel, steering the Jaguar around an elderly woman cyclist, panniers filled with baguettes. ‘Jane, you’ll be a huge success. You’re the youngest doctor on the staff, and the prettiest. You’re efficient, hardworking … what else?’

‘Slightly insolent?’

‘You’ll do them good. Anyway, it’s only a business park.’

‘I can see it – straight ahead. My God, it’s the size of Florida…’

The first office buildings in the Eden-Olympia complex were emerging from the slopes of a long valley filled with eucalyptus trees and umbrella pines. Beyond them were the rooftops of Cannes and the Îles de Lérins, a glimpse of the Mediterranean that never failed to lift my heart.

‘Paul, down there …’ Jane pointed to the hillside, raising a finger still grimy from changing a spark plug. Hundreds of blue ovals trembled like damaged retinas in the Provençal sun. ‘What are they – rain-traps? Tanks full of Chanel Number 5? And those people. They seem to be naked.’

‘They are naked. Or nearly. Swimming pools, Jane. Take a good look at your new patients.’ I watched one senior executive in the garden of his villa, a suntanned man in his fifties with a slim, almost adolescent body, springing lightly on his diving board. ‘A healthy crowd … I can’t imagine anyone here actually bothering to fall ill.’

‘Don’t be too sure. I’ll be busier than you think. The place is probably riddled with airport TB and the kind of viruses that only breed in executive jets. And as for their minds …’

I began to count the pools, each a flare of turquoise light lost behind the high walls of the villas with their screens of cycads and bougainvillaea. Ten thousand years in the future, long after the Côte d’Azur had been abandoned, the first explorers would puzzle over these empty pits, with their eroded frescoes of tritons and stylized fish, inexplicably hauled up the mountainsides like aquatic sundials or the altars of a bizarre religion devised by a race of visionary geometers.

We left the Cannes road and turned onto a landscaped avenue that led towards the gates of the business park. The noise from the Jaguar’s tyres fell away as they rolled across a more expensive surface material – milled ivory, at the very least – that would soothe the stressed wheels of the stretch limousines. A palisade of Canary palms formed an honour guard along the verges, while beds of golden cannas flamed from the central reservation.

Despite this gaudy welcome, wealth at Eden-Olympia displayed the old-money discretion that the mercantile rich of the information age had decided to observe at the start of a new millennium. The glass and gun-metal office blocks were set well apart from each other, separated by artificial lakes and forested traffic islands where a latter-day Crusoe could have found comfortable refuge. The faint mist over the lakes and the warm sun reflected from the glass curtain-walling seemed to generate an opal haze, as if the entire business park were a mirage, a virtual city conjured into the pine-scented air like a son-et-lumière vision of a new Versailles.

But work and the realities of corporate life anchored Eden-Olympia to the ground. The buildings wore their ventilation shafts and cable conduits on their external walls, an open reminder of Eden-Olympia’s dedication to company profits and the approval of its shareholders. The satellite dishes on the roofs resembled the wimples of an order of computer-literate nuns, committed to the sanctity of the workstation and the pieties of the spreadsheet.

Gravel tore at the Jaguar’s tyres. Waking from her reverie, Jane braked sharply before we reached the gatehouse, sending the old sports saloon into a giddy shunt. Two uniformed guards looked up from their electronic screens, but Jane ignored them, readying a two-finger salute that I managed to conceal.

‘Jane, they’re on our side.’

‘Sorry, Paul. I know, we want them to like me. Open your window.’ She grimaced at herself in the rear-view mirror. ‘That cheap perfume. I smell like a tart …’

‘The most gorgeous tart on the Côte d’Azur. They’re lucky to have you.’ I tried to settle her hands as she fretted over her lipstick, obsessively fine-tuning herself. I could feel the perspiration on her wrists, brought out by more than the August sun. ‘Jane, we don’t have to be here. Even now, you can change your mind. We can drive away, cross the border into Italy, spend a week in San Remo …’

‘Paul? I’m not your daughter.’ Jane frowned at me, as if I were an intruder into her world, then touched my cheek forgivingly. ‘I signed a six-month contract. Since David died they’ve had recruitment problems. They need me …’

I watched Jane make a conscious effort to relax, treating herself like an overwrought patient in casualty. She lay against the worn leather seating, breathing the bright air into her lungs and slowly exhaling. She patted the dark bang that hid her bold forehead and always sprang forward like a coxcomb at the first hint of stress. I remembered the calm and sensible way in which she had helped the trainee nurses who fumbled with my knee-brace. At heart she was the subversive schoolgirl, the awkward-squad recruiter with a primed grenade in her locker, who saw through the stuffy conventions of boarding school and teaching hospital but was always kind enough to rescue a flustered housekeeper or ward orderly.

Now, at Eden-Olympia, it was her turn to be intimidated by the ultra-cerebral French physicians who would soon be her colleagues. She sat forward, chin raised, fingers drumming a threatening tattoo on the steering wheel. Satisfied that she could hold her own, she noticed me massaging my knee.

‘Paul, that awful brace … we’ll get it off in a few days. You’ve been in agony and never complained.’

‘I’m sorry I couldn’t help with the driving. Cannes is a long way from Maida Vale.’

‘Everywhere is a long way from Maida Vale. I’m glad we came.’ She gazed at the office buildings that climbed the valley slopes, and at the satellite dishes distilling their streams of information from the sky. ‘It all looks very civilized, in a Euro kind of way. Not a drifting leaf in sight. It’s hard to believe anyone would be allowed to go mad here. Poor David …’

David Greenwood’s death dominated our time at Eden-Olympia, hovering above the artificial lakes and forests like the ghosts of Princip over Sarajevo and Lee Harvey Oswald over Dallas. Why this dedicated children’s doctor should have left his villa on a morning in late May and set out on a murder rampage had never been explained. He had killed seven senior executives at Eden-Olympia, executed his three hostages and then turned his rifle on himself. He had written no suicide note, no defiant last message, and as the police marksmen closed in he had calmly abandoned himself to death.

A week before our wedding, Jane and I had met him at a London reception for Médecins Sans Frontières. Likeable but a little naive, Greenwood reminded me of an enthusiastic Baptist missionary, telling Jane about the superb facilities at the Eden-Olympia clinic, and the refuge for orphaned children he had set up at La Bocca, the industrial suburb to the west of Cannes. With his uncombed hair and raised eyebrows, he looked as if he had just received an unexpected shock, a revelation of all the injustices in the world, which he had decided to put right. Yet he was no prude, and talked about his six months in Bangladesh, comparing the caste rivalries among the village prostitutes with the status battles of the women executives at Eden-Olympia.

Jane had known him during their internships at Guy’s, and often met him after she enrolled with the overseas supply agency that recruited Greenwood to Eden-Olympia. When she first applied for the paediatric vacancy, I had been against her going, remembering her shock on hearing the news of Greenwood’s violent death. Although she was off-duty for the day, she had taken a white coat from the wardrobe in our bedroom and buttoned it over her nightdress as she laid the newspapers across my knees.

The entire London press made the tragedy its main story. ‘Nightmare in Eden’ was the repeated headline above photographs of Riviera beaches and bullet-starred doors in the offices of the murdered executives. Jane hardly spoke about Greenwood, but insisted on watching the television coverage of French police holding back the sightseers who invaded Eden-Olympia. Blood-drenched secretaries, too speechless to explain to the cameras how their bosses had been executed, stumbled towards the waiting ambulances, while helicopters ferried the wounded to hospitals in Grasse and Cannes.

Yaş sınırı:
0+
Litres'teki yayın tarihi:
27 aralık 2018
Hacim:
441 s. 2 illüstrasyon
ISBN:
9780007322183
Telif hakkı:
HarperCollins