J. G. Ballard
J. G. Ballard
James Graham "J. G." Ballard was an English novelist, short story writer, and essayist. He came to be associated with the New Wave of science fiction early in his career with apocalypticnovels such as The Wind from Nowhereand The Drowned World. In the late 1960s, Ballard produced a variety of experimental short stories, such as those collected in The Atrocity Exhibition, which drew comparisons with the work of postmodernist writers such as William S. Burroughs. In the mid 1970s, he...
NationalityBritish
ProfessionAuthor
Date of Birth18 November 1930
The Enlightenment view of mankind is a complete myth. It leads us into thinking we're sane and rational creatures most of the time, and we're not.
The history of psychiatry rewrites itself so often that it almost resembles the self-serving chronicles of a totalitarian and slightly paranoid regime.
Medicine was certainly intended to be a career. I wanted to become a psychiatrist, an adolescent ambition which, of course, is fulfilled by many psychiatrists.
It's true that I have very little idea what I shall be writing next, but at the same time I have a powerful premonition of everything that lies ahead of me, even ten years ahead.
The future is going to be boring. The suburbanisation of the planet will continue, and the suburbanisation of the soul will follow soon after.
An arts degree is like a diploma in origami. And about as much use.
Perhaps violence, like pornography, is some kind of an evolutionary standby system, a last-resort device for throwing a wild joker into the game?
Sleep is an eight-hour peep show of infantile erotica.
I thought it was a wonderfully conceptual act actually, to fire a replica pistol at a figurehead - the guy could have been working for Andy Warhol!
Their violence (the jungle wars of the '70s), and all violence for that matter, reflects the neutral exploration of sensation that is taking place, within sex as elsewhere and the sense that the perversions are valuable precisely because they provide a readily accessible anthology of exploratory techniques.
Pop artists deal with the lowly trivia of possessions and equipment that the present generation is lugging along with it on its safari into the future.
The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.
I accepted that a new kind of hate had emerged, silent and disciplined, a racism tempered by loyalty cards and PIN numbers. Shopping was now the model for all human behaviour, drained of emotion and anger.
Human beings today ... are surrounded by huge institutions we can never penetrate: the City [London's Wall Street], the banking system, political and advertising conglomerates, vast entertainment enterprises. They've made themselves user friendly, but they define the tastes to which we conform. They're rather subtle, subservient tyrants, but no less sinister for that.