J. G. Ballard Quotes
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I've seen descriptions of advanced TV systems in which a simulation of reality is computer-controlled; the 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.
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There are signs, I think, that people aren't satisfied by consumerism: that people resent the fact that the most moral decision in their lives is choosing what colour their next car will be.
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I came to live in Shepperton in 1960. I thought: the future isn't in the metropolitan areas of London. I want to go out to the new suburbs, near the film studios. This was the England I wanted to write about, because this was the new world that was emerging.
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There's a logic today that places a greater value on celebrity the less it is accompanied by actual achievement. I don't think it's possible to touch people's imagination today by aesthetic means.
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I believe that if it were possible to scrap the whole of existing literature, all writers would find themselves inevitably producing something very close to SF ... No other form of fiction has the vocabulary of ideas and images to deal with the present, let alone the future.
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Orwell's '1984' convinced me, rightly or wrongly, that Marxism was only a quantum leap away from tyranny. By contrast, Huxley's 'Brave New World' suggested that the totalitarian systems of the future might be subservient and ingratiating.
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Real war was the thousands of Chinese refugees dying of cholera in the sealed stockades at Pootung, and the bloody heads of Communist soldiers mounted on pikes along the Bund. In a real war no one knew which side he was on, and there were no flags or commentators or winners. In a real war there were no enemies.
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My father worked, and my mother played bridge. Every time I went out of the house, I was chauffeur-driven with my nanny next to me to stop me being kidnapped.
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Everywhere you look - Britain, the States, western Europe - people are sealing themselves into crime-free enclaves. That's a mistake - a certain level of crime is part of the necessary roughage of life. Total security is a disease of deprivation.
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Looking back, it puzzles me that my parents decided to stay in Shanghai when they must have known that war was imminent. But the cotton works were my father's responsibility, and duty then counted for something.
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I don't think it's possible to touch people's imagination today by aesthetic means.
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Most writers flinch at the thought of being completely honest about themselves. So absolute honesty is what marks the true modern.
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In March 1943, my parents, four-year-old sister and I were interned with other foreign civilians at Lunghua camp, a former teacher training college outside Shanghai, where we remained until the end of August 1945.
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Twenty years ago no one could have imagined the effects the Internet would have: entire relationships flourish, friendships prosper…there’s a vast new intimacy and accidental poetry, not to mention the weirdest porn. The entire human experience seems to unveil itself like the surface of a new planet.
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I've decided to recast myself as Utopian. I like this landscape of the M25 and Heathrow. I like airfreight offices and rent-a-car bureaus. I like dual carriageways. When I see a CCTV camera, I know I'm safe.
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In wartime Shanghai I saw so many horrors … Civilised life 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.
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I admired anyone who could unsettle people.
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My upbringing was so middle-class and repressed. It wasn't until I was placed in Lunghua that I met anyone from any other social strata. When I did, I found them colossally vital.
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The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.
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I would love to have been a painter in the tradition of the surrealist painters who I admire so much.
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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.
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Medicine was certainly intended to be a career. I wanted to become a psychiatrist, an adolescent ambition which, of course, is fulfilled by many psychiatrists.
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The chief role of the universities is to prolong adolescence into middle age, at which point early retirement ensures that we lack the means or the will to enforce significant change.
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Everywhere - all over Africa and South America … you see these suburbs springing up. They represent the optimum of what people want. There's a certain sort of logic leading towards these immaculate suburbs. And they're terrifying, because they are the death of the soul … This is the prison this planet is being turned into.