J. Ballard – Hello America (страница 2)

The United States has given birth to most of our century’s dreams, and to a good many of its nightmares. No other country has created such a potent vision of itself, and exported that vision so successfully to the rest of the world. Skyscrapers and freeways, Buicks and blue jeans, film stars and gangsters, Disneyland and Las Vegas have together stamped the image of America onto the maps of our imagination.

Recently the American dream may have faded a little, exposed to the harsh reality of violent crime and decaying inner cities, but throughout the rest of the world the core appeal of the American way of life is as strong as ever. Above all, Hollywood still rules our entertainment culture, projecting a fictional image of America far more powerful than the reality.

Whenever I visit the United States I often feel that the real ‘America’ lies not in the streets of Manhattan and Chicago, or the farm towns of the Midwest, but in the imaginary America created by Hollywood and the media landscape. Far from being real, the sidewalks and filling stations and office blocks seems to imitate the images of themselves in countless movies and TV commercials. Even the American people one meets in hotel lobbies and department stores seem like actors in a huge televised sitcom. ‘USA’ might well be the title of a 24-hour-a-day virtual-reality channel, broadcast into the streets and shopping malls and, perhaps, the White House itself – certainly during the Presidency of Ronald Reagan, whose first year in office coincided with the original publication of Hello America.

Cadillacs, Coca-Cola and cocaine, presidents and psychopaths, Norman Rockwell and the mafia … the dream of America endlessly unravels its codes, like the helix of some ideological DNA. But what would happen if we took the United States at its face value and constructed an alternative America from all these images? The simulacrum might well reveal something of the secret agenda that lies beneath the enticing surface of the American dream.

A curious feature of the United States is that this nation with the most advanced science and technology the world has ever seen, which has landed men on the moon and created the supercomputers that may one day replace us, amuses itself with a comic-book culture aimed for the most part at bored and violent teenagers. In Hello America I suggest that the hidden logic of the American dream might one day lead to a President Manson playing nuclear roulette in Las Vegas, a less far-fetched notion than it seems, bearing in mind the Hollywood actor who occupied the White House through most of the 1980s, his head filled with the debris of old movies as he dreamed his Star Wars fantasies of laser-armed missiles.

Nonetheless, as the reader will find, Hello America is strongly on the side of the USA, and a celebration of its optimism and self-confidence, qualities that we Europeans so conspicuously lack. For all my fears of a President Manson, the story ends in the triumph of the nineteenth-century Yankee virtues embodied in my old glass airplane-building inventor. However hard we resist, our dreams still carry the legend ‘Made in USA’.

1994

Introduction

By Ben Marcus

Hello America might as well be called Goodbye America. Goodbye and so long, you monstrous, resource-sucking nation, who raped the land and air, imposed your hypocritical policies and cartoonish values every which where, and lowered the world’s collective intelligence through debased entertainment. Good riddance, and now let’s tour the corpse. This novel, more than any in his opus, is J. G. Ballard’s cruel eulogy to the country everyone loves to hate. America, we all know, has had it coming for a good while now. Since it first started to thrive, perhaps? In Hello America, that comeuppance has struck, and hard. The promised land has given way to wasteland, a blank slate. Welcome to the end times. Or is Ballard suggesting we need to wipe the great nation clean and start again, with a new group of well-meaning European explorers? Perhaps ‘hello’ is the correct word after all.

The novel opens to a dead America, the Statue of Liberty drowned in her own harbour. A group of explorers has come across the ocean to assess some worrying radiation levels. At first glance, our explorers find a New York that is covered in what looks like mounds of gold. Gold dust is spilling from buildings, running into the water. They’re rich! This is the American promise, writ not just large but gigantic, and their excitement is nearly childish. Of course this is Ballard, who would not reward his characters so soon, if ever. Their fates will not be resolved so easily. Up close, the explorers discover that this is not gold at all, but sand. America’s profligate way with all of the world’s resources has left it uninhabitable. Published in 1981, when America was still recovering from the oil crises of 1973 and 1979, Hello America is even more relevant, or terrifyingly accurate, today. Our sense of its premise’s inevitability quickly transforms the novel from sci-fi horrorscape to just another piece of domestic realism, plus some very appealing clone technology and ultra-sexy transparent flying machines late in the novel. The climate in this not-so-fictional world has been pitched on its head after the damming of the Bering Strait, and the explorers discover that not only did every American have to flee, they did so in a hurry. The metropolis is a desert. We can only guess at the wrenching weather that must have burned people out of their homes. The country is a graveyard of itself. This is perhaps just the cautionary tale we need as we lurch further into real, irreversible destruction, and since the hard-headed among us are not listening to science, why not let fiction commence its subtler, more sinister campaign?

Whatever kind of future Ballard is proposing here, it’s not one gifted with much remote intelligence, because each of our protagonists is filled not with hard facts about this failed part of the world, but with full-blown, unchecked fantasies of the America that awaits. Their scientific mission is quickly subsumed by more personal, mythological yearnings. In a place without people, a person can become whatever he wants. Even president. Although what one would be president of is never made especially clear. Leadership itself, in its pure form, as distilled prestige, is what one is meant to readily covet. For Ballard, instilling a character with a lifelong dream of becoming president is giving that character one of the greatest ambitions there is.

We know almost nothing about where our explorers have come from, only that Europe practised moderation with its resources and avoided America’s greedy, suicidal eco-disaster. If Europe survived, though, it would seem to be a pinched and thin survival, hardly worth the novel’s attention. It’s interesting to note that the explorers never think of home while in America, never wish they were elsewhere, and seem in fact to have no pasts to speak of at all. Their lives have begun anew in this strange place. Is this the powerful hold of the American dream, which has apparently outlasted the American reality? However fallen the new world is, however much it is a victim of its own excess, a new round of explorers would seem to prefer it, death-ridden as it is, to anything else on the planet. One begins to sense that underneath the clear and lurid scorn Ballard shows for what America had become, there simmers a circumspect romanticism, a longing for the place, however diseased it was. But for Ballard, romance and death are hardly ever separate. He has no trouble showing the allure of death. In his world, it’s better to throw one’s lot in with the crazy dreamers, however perilous the mission, than to conduct oneself more rationally, with modest and realistic hopes.

Still, Ballard does love to topple an icon, and here his destruction is as luscious, and perverse, as ever. A hollowed-out, depopulated America is a perfect playground for him. He needn’t trifle so much with characters when he can provide a running inventory of all that is gone, and one of the novel’s strongest currents is the endless account of those parts of America that no longer exist or no longer work. The book is a near-rhapsody of decline. Cities are sucked of life. Dust covers everything. Pools are empty, the lights are out, and the glass in buildings is warped or gone. Rarely has a writer seemed to take such glee in cataloguing what is missing in his narrative world, a kind of grave-dancing unparalleled in any other book I can think of.

The book bursts with American death, revels in it, in lieu, really, of any kind of old-fashioned character development. Ballard was long besotted with America, or, more specifically, with its cultural artefacts and over-hyped promise, the way it advertised itself through its exports. When the movie version of Crash was set to be filmed, Ballard applauded David Cronenberg’s decision to shoot the film in Toronto, bringing it closer to the land where cars were an ugly, compelling obsession. But if Crash was, in part, about death by car, Hello America is about the death of the car, and with it the American dream.