INTERVIEWER
Speaking of stimulation, did any of the psychoactive drugs of the sixties give you any clues for your writing?
BALLARD
I suppose I’m a medium-to-heavy drinker, but I haven’t taken any drugs since one terrifying LSD trip in 1967. A nightmarish mistake. It opened a vent of hell that took years to close and left me wary even of aspirin. Visually it was just like my 1965 novel, The Crystal World, which some people think was inspired by my LSD trip. It convinced me that a powerful and obsessive enough imagination can reach, unaided, the very deepest layers of the mind. (I take it that beyond LSD there lies nothing.) Imagination is the shortest route between any two conceivable points, and more than equal to any physical rearrangement of the brain’s functions.
INTERVIEWER
Back in the sixties, Martin Bax and yourself, as editors of Ambit magazine, ran a drug competition.
BALLARD
Dr. Bax and I ran a competition in Ambit for the best prose or poetry written under the influence of drugs, and it produced a lot of interesting material. In general, cannabis was the best stimulant, though some good pieces came out of LSD. In fact, the best writing of all was done by Ann Quin, under the influence of the contraceptive pill.
INTERVIEWER
Dr. Bax is a novelist as well, isn’t he?
BALLARD
Martin is a physician, a research pediatrician, and consultant to a London hospital, and his book The Hospital Ship (published in the States by New Directions) is the most remarkable and original novel I’ve come across since reading William Burroughs.
INTERVIEWER
Burroughs wrote an eccentric and laudatory, in its way, introduction to the American edition of Atrocity Exhibition. Do you know him?
BALLARD
Burroughs, of course, I admire to the other side of idolatry, starting with Naked Lunch, then Ticket, Soft Machine, and Nova Express. I’m less keen on his later books. In his way he’s a genius. It’s a pity that his association with drugs and homosexuality has made him a counterculture figure, but I suppose his real links are with Jack Kerouac, Allen Ginsberg, and the Beats. Still, I think he’s much more of an establishment figure, like Dean Swift, with a despairing disgust for the political and professional establishments of which he is a part. I have met Burroughs quite a few times over the last fifteen years, and he always strikes me as an upper-class Midwesterner, with an inherent superior attitude towards blacks, policemen, doctors, and small-town politicians, the same superior attitude that Swift had to their equivalents in his own day, the same scatological obsessions and brooding contempt for middle-class values, thrift, hard work, parenthood, et cetera, which are just excuses for petit-bourgeois greed and exploitation. But I admire Burroughs more than any other living writer, and most of those who are dead. It’s nothing to do with his homosexual bent, by the way. I’m no member of the “homintern,” but a lifelong straight who prefers the company of women to most men. The few homosexual elements in Crash and Atrocity Exhibition, fucking Reagan, et cetera, are there for reasons other than the sexual—in fact, to show a world beyond sexuality, or, at least beyond clear sexual gender.
Biblioklept 