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 only realised why I keep living in Shepperton when I returned to China. All the people who moved there had come from places just like Shepperton, and so they built and lived in houses exactly like these. I now know I was drawn here because, on an unconscious level, Shepperton reminds me of Shanghai.
I define Inner Space as an imaginary realm in which on the one hand the outer world of reality, and on the other the inner world of the mind meet and merge. Now, in the landscapes of the surrealist painters, for example, one sees the regions of Inner Space; and increasingly I believe that we will encounter in film and literature scenes which are neither solely realistic nor fantastic. In a sense, it will be a movement in the interzone between both spheres.
Maybe you are a poet and a dreamer, but don't you realize that those two species are extinct now?
A reality that is electronic... Once everybody's got a computer terminal in their home, to satisfy all their needs, all the domestic needs, there'll be a dismantling of the present broadcasting structure, which is far too limited and limiting.
People think that by living on some mountainside in a tent and being frozen to death by freezing rain, they're somehow discovering reality, but of course that's just another fiction dreamed up by a TV producer.
One of the things I took from my wartime experiences was that reality was a stage set... the comfortable day-to-day life, school, the home where one lives and all the rest of it... could be dismantled overnight.
I take for granted that for the imaginative writer, the exercise of the imagination is part of the basic process of coping with reality, just as actors need to act all the time to make up for some deficiency in their sense of themselves.
Put a higher value on yourself. Being hyper-realistic about everything is too simple a get-out.
The functional freedom that anybody can buy a gun and go out and murder a lot of people at a McDonald's is prevalent, yes. But through the effects of TV and interactive video systems and so forth, we'll also have the freedom to pretend to be a mass murderer for the evening. I've seen descriptions of advanced TV systems in which a simulation of reality is computer controlledthe 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.
Electronic aids, particularly domestic computers, will help the inner migration, the opting out of reality. Reality is no longer going to be the stuff out there, but the stuff inside your head. It's going to be commercial and nasty at the same time.
Art exists because reality is neither real nor significant.
Civilised life, you know, is based on a huge number of illusions in which we all collaborate willingly. The trouble is we forget after a while that they are illusions and we are deeply shocked when reality is torn down around us.
Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.