IN THIS RIFF:
“Cry Hope, Cry Fury!” (1967)
“The Recognition” (1967)
“The Cloud–Sculptors of Coral D” (1967)
“Why I Want to Fuck Ronald Reagan” (1968)
“The Dead Astronaut” (1968)
“The Comsat Angels” (1968)
“The Killing Ground” (1969)
“A Place and a Time to Die” (1969)
“Say Goodbye to the Wind” (1970)
“Cry Hope, Cry Fury!” (1967) / “The Cloud-Sculptors of Coral D” (1967) / “Say Goodbye to the Wind” (1970)
Ballard’s Vermilion Sands stories, collected and published together (under the title Vermilion Sands in 1971), are generally my least favorite selections in The Complete Short Stories of J.G. Ballard. The stories, composed over a decade, share a unified tone and a consistent (first-person) point of view to match their unified setting, and that setting is interesting enough—Ballardian enough—but each story is essentially just a delivery mechanism for a Cool Idea that Ballard has about art.
In “Cry Hope, Cry Fury!”, Ballard’s Cool Idea is a light-responsive painting technique:
Like all paintings produced at Vermilion Sands at that time, it would not actually need the exercise of the painter’s hand. Once the pigments had been selected, the photosensitive paint would produce an image of whatever still life or landscape it was exposed to. Although a lengthy process, requiring an exposure of at least four or five days, it had the immense advantage that there was no need for the subject’s continuous presence. Given a few hours each day, the photosensitive pigments would anneal themselves into the contours of a likeness.
This discontinuity was responsible for the entire charm and magic of these paintings. Instead of a mere photographic replica, the movements of the sitter produced a series of multiple projections, perhaps with the analytic forms of cubism, or, less severely, a pleasant impressionistic blurring.
The idea is interesting in and of itself, calling back to the central conceit of another VS story, “Studio 5, The Stars.” In that tale, poetry is the automated product of programmed machines. The concept of programmed art is fascinating, and clearly Ballard’s fiction tracks a predictive curve, but like most Vermilion Sands stories, “Cry Hope, Cry Fury!” is clumsily executed pulp fiction. “The Cloud-Sculptors of Coral D” is no different (the Cool Idea is cloud-sculpting, which allows Ballard to riff on one of his central motifs, airplanes). “Say Goodbye to the Wind” features living, responsive clothing. It also features another stereotypical Ballardian (pseudo)ingénue (the man really had a difficult time coming up with complex female characters). However, with its notes on “the teenage cult” and its obsession with plastic surgery, the story points to the more compelling territory Ballard was exploring.
“The Recognition” (1967)
A doomed circus, another (pseudo)ingénue, another dwarf, another morality fable, another stab at magical realism—far less successful than “The Drowned Giant” though.
“Why I Want to Fuck Ronald Reagan” (1968)
This is one you might as well just read: I mean, an attempt to describe it here will fail. But I’ll fail anyway.
“Reagan” was first published when the former actor and then-Governor of California was positioned as a write-in candidate for the ’68 election—the Gipper was the conservative alternative to Nixon. Written in the style of an academic psychology paper, the piece isn’t so much satire as something else entirely. I’m not sure exactly what that “something else” is, but it’s probably best signaled in Ballard’s own prose:
Sexual fantasies in connection with Ronald Reagan. The genitalia of the Presidential contender exercised a continuing fascination. A series of imaginary genitalia were constructed using (a) the mouth–parts of Jacqueline Kennedy, (b) a Cadillac rear–exhaust vent, (c) the assembly kit prepuce of President Johnson, (d) a child–victim of sexual assault. In 89 per cent of cases, the constructed genitalia generated a high incidence of self–induced orgasm. Tests indicate the masturbatory nature of the Presidential contender’s posture. Dolls consisting of plastic models of Reagan’s alternate genitalia were found to have a disturbing effect on deprived children.
According to a number of sources, including Ballard himself, the story was disseminated at the 1980 Republican National Convention in Detroit. VICE reports:
. . . a number of still-unknown former Situationists got hold of letterhead stamped with the seal of the Republican National Committee, upon which they printed Ballard’s Reagan text, replaced his offending title with the innocuous, “Official Republican 1980 Presidential Survey,” and managed to distribute copies to delegates on the convention floor in Detroit, one of the most audacious acts of political theater in our time.
“Reagan” is one of only three sections of The Atrocity Exhibition collected in The Complete Stories. It also clearly belongs in The Essential Short Stories of J.G. Ballard, an ideal collection that does not yet exist.
“The Dead Astronaut”
Betrayal, unfaithful wives, the fall-out of the space race against the backdrop of the Cold War, paranoia, radiation, etc.
“The Comsat Angels”
Ballard’s best stories, like “The Index,” “Why I Want to Fuck Ronald Reagan,” “The Beach Murders,” or “Answers to a Questionnaire” all succeed because their form is indivisible from their content—the idea that Ballard delivers is inseparable from the method of delivery. Most of Ballard’s stories are beholden to genre conventions though, and while Ballard’s treatment of these conventions are often excellent (and sometimes not-so-excellent), against the backdrop of his best stuff, the conventional exercises are always a little disappointing, or at least frustrating. Often clunky and heavy-handed, his stories for sci-fi mags are often the worst offenders.
However, when Ballard works through the conventions of detective fiction, he usually has stronger results. Edgar Allan Poe is surely Ballard’s foremost literary ancestor, a comparison that finds illustration in “The Comsat Angels,” a detective piece with a nimble streak of sci-fi running through it for flavor. Cloning, conspiracy, and paranoia done right. Great stuff.
“The Killing Ground” (1969) / “A Place and a Time to Die” (1969)
These stories are basically thought exercises where Ballard takes on the Vietnam War and its simultaneous culture war. “The Killing Ground” foregrounds the Vietnam War, but still displaces it, extrapolating a future where “Thirty years after the original conflict in south–east Asia, the globe was now a huge insurrectionary torch, a world Vietnam,” with Imperial America dominating the globe with its war machine. (Thank goodness nothing like that really happened!). “A Place and a Time to Die” is more oblique, a tale of fear of invading otherness. “A Place and a Time to Die” could resonate just as strongly today in contemporary America, with its exurbs and gated communities and Stand Your Ground laws.
On the horizon:
Some of Ballard’s best, including “The Index” and another (oblique) Vietnam story, “Theatre of War.” I’ll also riff on Ballard’s pseudo-but-not-so-pseudo-autobiographical story, “Notes Toward a Mental Breakdown.”
[Ed. note: Biblioklept originally ran a series of posts on The Complete Short Stories of J.G. Ballard between October 2013 and March 2014.]