During the month they were on show the cars were ceaselessly attacked, daubed with white paint by a Hare Krishna group, overturned and stripped of wing mirrors and licence plates. By the time the show closed and the cars were towed away, unmourned the moment they were dragged through the gallery doors, I had long since made up my mind. All my suspicions had been confirmed about the unconscious links that my novel would explore. My exhibition had in fact been a psychological test disguised as an art show, which is probably true of Hirst’s shark and Emin’s bed. I suspect that it’s no longer possible to stir or outrage spectators by aesthetic means alone, as did the Impressionists and cubists. A psychological challenge is needed that threatens one of our dearer delusions, whether a stained sheet or a bisected cow forced to endure a second death in order to remind us of the illusions to which we cling about the first.
In 1970, encouraged by my crashed cars exhibition, I began to write Crash. This was more than a literary challenge, not least because I had three young children crossing the streets of Shepperton every day, and nature might have played another of its nasty tricks. I have described the novel as a kind of psychopathic hymn, and it took an immense effort of will to enter the minds of the central characters. In an attempt to be faithful to my own imagination, I gave the narrator my own name, accepting all that this entailed.
Two weeks after finishing the novel I was involved in a car crash of my own, when my tank-like Ford Zephyr had a front-wheel blowout at the foot of Chiswick Bridge. The car swerved out of control, crossed the central reservation and rolled onto its back. Luckily I was wearing my seat belt. Hanging upside down, I found that the doors had been jammed by the partly collapsed roof. People were shouting: ‘Petrol! Petrol!’ The car lay in the centre of the oncoming carriageway, and I was fortunate not to be struck by the approaching traffic. Eventually I wound down the window and clambered out. An ambulance took me to a nearby hospital at Roehampton, where my head was X-rayed. I had mild concussion for a fortnight, a constant headache that suddenly cleared, and was otherwise unhurt.
Looking back, I suspect that if I had died the accident might well have been judged deliberate, at least on the unconscious level, a surrender to the dark powers that propelled the novel. I have never had an accident since, and in half a century of driving have never made an insurance claim. But I believe that Crash is less a hymn to death than an attempt to appease death, to buy off the executioner who waits for us all in a quiet garden nearby, like Bacon’s headless figure in his herringbone jacket who sits patiently at a table with a machine gun beside him. Crash is set at a point where sex and death intersect, though the graph is difficult to read and is constantly recalibrating itself. The same is true, I suppose, of Tracey Emin’s bed, which reminds us that this young woman’s beautiful body has stepped from a dishevelled grave.
Crash has been published in many countries, and was widely reissued after the 1996 David Cronenberg film. It was a moderate success in Britain, but Jonathan Cape showed none of the flair of their French counterparts, Calman-Levy in Paris. The French edition was a huge success, and remains my best-known book in France. The French critics accepted without qualms the novel’s yoking together of sex, death and the motor car. Anyone who drives in France is steering into the pages of Crash.
An important factor in the French success of Crash was the long tradition of subversive works in France, going back at least as far as the pornographic novels of de Sade and extending more recently from the symbolist poets to the anti-clerical fantasies of the surrealists and the novels of Céline and Genet. No such tradition has ever existed in England, and it is impossible to imagine Story of O being published here in the 1950s. The United States, now fast becoming a theocratic state run by right-wing political fanatics and religious moralisers, has posed similar problems to its more challenging writers. Nabokov’s Lolita, Henry Miller’s Tropic novels, and William Burroughs’ Naked Lunch were all first published in Paris by the Olympia Press, a small publishing house that specialised in literary porn.
Crash created little stir when it first appeared in Britain, but twenty-five years later, after a period when the country was supposed to have liberalised itself, a preposterous storm in the largest teacup that Fleet Street could find showed just how repressed and silly as a nation we could be.
David Cronenberg’s film of Crash was premiered at the Cannes Film Festival in 1996. It was the most controversial film of the festival, and the controversy continued for years afterwards, especially in England. Desperate Conservative politicians, facing defeat at the imminent general election, attacked the film in an attempt to gain moral credit as the guardians of public decency. One cabinet minister, Virginia Bottomley, called for the film (which she had not seen) to be banned.
The Cannes festival is an extraordinary media event, in many ways deeply intimidating to a mere novelist. Books may still be read in vast numbers, but films are dreamed. Claire and I were stunned by the screaming crowds, the lavish parties and stretch limos. I took part in all the publicity interviews, and was deeply impressed to see how committed the stars of the film were to Cronenberg’s elegant adaptation of my novel.
I was sitting next to Holly Hunter when we were joined by a leading American film critic. His first question was: ‘Holly, what are you doing in this shit?’ Holly sprang into life, and delivered a passionate defence of the film, castigating him for his small-mindedness and provincialism. It was the greatest performance of the festival, which I cheered vigorously.
The film opened in France within a few weeks, and was very successful, and then went on to open across Europe and the rest of the world. In America there were problems when Ted Turner, who controlled the distribution company, decided that Crash might offend public decency. At the time, interestingly, he was married to Jane Fonda, who had enlivened her career by playing prostitutes (as in Klute) or cavorting naked in a fur-lined spaceship (in Barbarella).
In England the film was delayed for a year when Westminster Council banned it from the West End of London, and a number of other councils up and down the country followed suit. When the film finally opened there were no copycat car crashes, and the controversy at last died down. Cronenberg, a highly intelligent and thoughtful man, was completely baffled by the English reaction. ‘Why?’ he kept asking me. ‘What’s going on here?’
After fifty years, I was nowhere nearer an answer.
21
Lunches and Films (1987)
By 1980 my three children were adults and away at their universities. Within a year or two they would leave home and begin their careers apart from me, and the richest and most fulfilling period in my life would abruptly come to an end. I had already had a foretaste of this. As every parent knows, infancy and childhood seem to last for ever. Then adolescence arrives and promptly leaves on the next bus, and one is sharing the family home with likeable young adults who are more intelligent, better company and in many ways wiser than oneself. But childhood has gone, and in the silence one stares at the empty whisky bottles in the pantry and wonders if any number of drinks will fill the void.
We had enjoyed the 1970s together, the dull Heath years and the twilight world of the last Old Labour government, largely by going abroad whenever we could. Claire and I and our four children would climb into my large family saloon and head for Dover, watch the white cliffs recede without a pang (I never saw a tear shed by a single fellow passenger on countless cross-channel ferries) and begin to breathe freely as we emerged through the bow doors and rolled the wheels across the Boulogne cobbles. Soon there was the intoxicating reek of Gauloises, scent, merde and higher octane French petrol – now sadly all gone, including the cobbles. For reasons I have never understood, we took few photographs, and had left it too late when the children decided to holiday on their own. But memory is the greatest gallery in the world, and I can play an endless archive of images of the happy time.
Waving goodbye to the children as Claire and I set off on our first holiday alone, I found mys
elf thinking of Shanghai again. I had almost forgotten the war, and never referred to Shanghai in conversation with friends, and rarely even to Claire and the children. But I had always wanted to write about the war years and internment, partly because so few people in England were aware of the Pacific war against the Japanese.
It was then nearly forty years since I entered Lunghua Camp, and soon my memories would fade. Few novelists have waited so long to write about the most formative experiences of their lives, and I am still puzzled why I allowed so many decades to slip by. Perhaps, as I have often reflected, it took me twenty years to forget Shanghai and twenty years to remember. During my early years in England after the war Shanghai had become an unattainable city, an El Dorado buried beneath a past to which I could never return. Another reason was that I was waiting for my children to grow up. Until they were young adults I was too protective of them to expose them in my mind to the dangers I had known at their age.
One question that readers still ask is: why did you leave your parents out of the novel? When I first began to think about the overall story I assumed that the central characters would be adults, and that children of any age would play no part in the novel. But I realised that I had no adult memories of Lunghua Camp, or of Shanghai. My only memories of life in both the camp and the city were those of an early teenager. I had, and still have, vivid memories of cycling around Shanghai, exploring empty apartment buildings, and trying unsuccessfully to fraternise with Japanese soldiers. But I had no memories of going to nightclubs and dinner parties. Although I spent my time roaming around Lunghua Camp, I had little idea of large areas of adult life. To this day I know nothing about the sexual lives of the internees. Did they have affairs, in the warrens of curtained cubicles that must have been ideal trysting cells? Almost certainly, I assume, especially during the first year when the internees’ health was still robust. Were there pregnancies? Yes, and the few families involved were moved by the Japanese to camps in Shanghai that were close to hospitals. Were there fierce rivalries and gnawing tensions between the internees? Yes, and I observed rows and arguments between both men and women that sometimes came to blows. But I knew nothing about the festering resentments that must have lasted for months if not years. My father was a gregarious man and got on well with most people, but my mother made few friends in G Block and seemed to spend most of her time reading in our little room. Curiously, though we ate, slept, dressed and undressed within a few feet of each other, I have very few memories of her in the camp. And none of my sister.
So, I accepted what I had probably assumed from the start, that Empire of the Sun would be seen through the eyes of a child who became a teenager during war and internment. And there seemed no point in inventing a fictitious child when I had one ready-made to hand: my younger self. Once I decided that the novel would be autobiographical, everything fell naturally into place. In much of the novel I was describing events I could still see in my mind’s eye. There were a huge number of memories that I needed to knit together, and some of the events described are imaginary, but although Empire of the Sun is a novel it is firmly based on true experiences, either my own or those told to me by other internees.
Writing the novel was surprisingly painless. A rush of memories rose from my typescript, the filth and cruelty of Shanghai, the faded smell of deserted villages, even the stench of Lunghua Camp, the reek of overcrowded barrack huts and dormitories, the desperate seediness of what in effect was a large slum. I was frisking myself of memories that popped out of every pocket. By the time I finished, at the end of 1983, Shanghai had advanced out of its own mirage and become a real city again
Empire of the Sun was a huge success, the only one I have known on that scale, and outsold all my previous books put together. It revived my backlist, in Britain and abroad, and drew many new readers to my earlier books. Some were deeply disappointed, writing letters along the lines of ‘Mr Ballard, could you explain what you really mean by your novel Crash?’ A question with no possible answer.
Other, more sympathetic readers of my earlier novels and short stories were quick to spot echoes of Empire of the Sun. The trademark images that I had set out over the previous thirty years – the drained swimming pools, abandoned hotels and nightclubs, deserted runways and flooded rivers – could all be traced back to wartime Shanghai. For a long time I resisted this, but I accept now that it is almost certainly true. The memories of Shanghai that I had tried to repress had been knocking at the floorboards under my feet, and had slipped quietly into my fiction. At the same time, though, I have always been fascinated by deserts, and even wrote an entire book, Vermilion Sands, set at a desert resort something like Palm Springs. And yet there are no deserts within a thousand miles of Shanghai, and the only sand I ever saw was in the snake house at Shanghai Zoo.
* * *
Most writers dream of having films made of their novels, but for every thousand films visualised and enthused over during the world’s longest lunches only one is ever actually made. The film world is a gaudy balloon kept aloft by enthusiasm, preposterous overconfidence, and all the dreams that money can buy. Film people – producers, directors and actors – are enormously good company, far livelier and more interesting than the majority of writers, and without their enthusiasm and their heroic lunches few films would ever reach the screen.
I was lucky enough to have options taken out on my earlier novels, but unlucky that my career as a writer coincided with the decades which marked the decline of the British film industry. Films based on my novels were lunched, but never launched.
The first time I saw my name (even if mispelled) in the credits of a film came in 1970, with the British release of When Dinosaurs Ruled the Earth. This was a Hammer film, a sequel to the Raquel Welch vehicle One Million Years BC, itself a remake of the 1940 Hollywood original starring Victor Mature and Carole Landis. Hammer specialised in Dracula and Frankenstein films, then much despised by the critics. But their films had tremendous panache and visual attack, without a single wasted frame, and the directors were surprisingly free to push their obsessions to the limit.
I was contacted by a Hammer producer, Aida Young, who was a great admirer of The Drowned World. She was keen that I write the screenplay for their next production, a sequel to One Million Years BC. Curious to see how the British film world worked, I turned up at the Wardour Street offices of Hammer, to be greeted in the foyer by a huge Tyrannosaurus rex about to deflower a blonde-haired actress in a leopard-skin bikini. The credits screamed ‘Curse of the Dinosaurs!’
Had the film already been made? I knew that outfits like Hammer worked fast. But Aida assured me that this was just window dressing, and they had settled on the title When Dinosaurs Ruled the Earth. Raquel Welch would not be available. They were thinking of using a Czech actress who spoke no English, but this didn’t matter since there would be no dialogue in the film. My job was to come up with a strong story.
She steered me into the office of Tony Hinds, then the head of Hammer. He was affable but gloomy, and listened without comment as Aida launched into a chapter-by-chapter account of The Drowned World, with its picture of a steaming, half-submerged London and its vistas of dream-inducing water.
She finished and we waited for Hinds to speak. ‘Water?’ he repeated. ‘We’ve had a lot of trouble with water.’
It turned out that they planned to shoot the film in the Canary Islands. I remembered that the surrealists had made field trips to the Canaries, fascinated by the black volcanic beaches and the extraordinary fauna and flora. All Hammer had seen was the tax incentives.
Hinds asked me what ideas I had come up with. Bearing in mind that the promised contract had yet to arrive, I had given little thought to the project, but on the drive from Shepperton to Soho I had produced several promising ideas. I outlined them as vividly as I could.
‘Too original,’ Hinds commented. Aida agreed. ‘Jim, we want that Drowned World atmosphere.’ She spoke as if this could be sprayed on, presumably in a fetch
ing shade of jungle green.
Hinds then told me what the central idea would be. His secretary had suggested it that morning. This was nothing less than the story of the birth of the Moon – in fact, one of the oldest and corniest ideas in the whole of science fiction, which I would never have dared to lay on his desk. Hines stared hard at me. ‘We want you to tell us what happens next.’
I thought desperately, realising that the film industry was not for me. ‘A tidal wave?’
‘Too many tidal waves. If you’ve seen one tidal wave you’ve seen them all.’
A small light came on in the total darkness of my brain. ‘But you always see the tidal waves coming in,’ I said in a stronger voice. ‘We should show the tidal wave going out! All those strange creatures and plants…’ I ended with a brief course in surrealist biology.
There was a silence as Hinds and Aida stared at each other. I assumed I was about to be shown the door.
‘When the wave goes out…’ Hinds stood up, clearly rejuvenated, standing behind his huge desk like Captain Ahab sighting the white whale. ‘Brilliant. Jim, who’s your agent?’
We went out to a glamorous lunch in a restaurant with Roman decor. Hinds and Aida were excited and cheerful, already moving on to the next stage of production, casting the leading characters. I failed to realise it at the time, but I had already reached the high point of my usefulness to them. I should have heard the ‘melancholy, long, withdrawing roar’ of the ebbing tidal wave, but it was exciting to have an idea taken up so quickly and be plied with enthusiasm, friendship and fine wine. Already they were discussing the complex relationships between the principal characters, difficult to envisage in a film with no dialogue, where emotions were expressed solely in terms of bare-chested men hitting each other with clubs or dragging a handsome blonde into a nearby cave by her hair. In due course I prepared a treatment, some of which survived into the finished film, along with my ebbing wave.