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
I think of science fiction as being part of the great river of imaginative fiction that has flowed through English literature, probably for 400 or 500 years, well predating modern science.
Burroughs called his greatest novel 'Naked Lunch,' by which he meant it's what you see on the end of a fork. Telling the truth. It's very difficult to do that in fiction because the whole process of writing fiction is a process of sidestepping the truth. I think he got very close to it, in his way, and I hope I've done the same in mine.
I've seen descriptions of advanced TV systems in which a simulation of reality is computer-controlled; the TV viewer of the future will wear a special helmet. You'll no longer be an external spectator to fiction created by others, but an active participant in your own fantasies/dramas.
Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.
The entertainment medium of film is particularly tuned to the present imaginations of people at large. A lot of fiction is intensely nostalgic.
Fiction is a branch of neurology
We live in a world ruled by fictions of every kind -- mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery . . .
Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.
There's a logic today that places a greater value on celebrity the less it is accompanied by actual achievement. I don't think it's possible to touch people's imagination today by aesthetic means.
There were no museums or galleries in Shanghai, but I was very keen on art - I was always sketching and copying, and sometimes I think that my whole career as a writer has been the substitute work of an unfulfilled painter.
There are signs, I think, that people aren't satisfied by consumerism: that people resent the fact that the most moral decision in their lives is choosing what colour their next car will be.
The first drafts of my novels have all been written in longhand, and then I type them up on my old electric. I have resisted getting a computer because I distrust the whole PC thing. I don't think a great book has yet been written on computer.
The bourgeois novel is the greatest enemy of truth and honesty that was ever invented. It's a vast, sentimentalizing structure that reassures the reader, and at every point, offers the comfort of secure moral frameworks and recognizable characters.
Looking back, it puzzles me that my parents decided to stay in Shanghai when they must have known that war was imminent. But the cotton works were my father's responsibility, and duty then counted for something.