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J. G. BallardA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
J. G. Ballard was born in raised in the Shanghai International Settlement—an extraterritorial enclave in Shanghai for British and American citizens. After the outbreak of the Second Sino-Japanese War in 1937, Ballard and his parents were forced to flee their suburban home to central Shanghai to avoid shelling. In 1941 the Japanese imperial army occupied the city and the International Settlement. In 1943, when Ballard was 13, they began interning Allied civilians, including Ballard and his parents. Together with his parents Ballard spent the rest of WWII—two years—in an internment camp outside of the city. Of experiencing war and internment as an adolescent, Ballard said:
The reassuring stage set that everyday reality in the suburban west presents to us is torn down; you see the ragged scaffolding, and then you see the truth beyond that […] I remember a lot of the casual brutality and beatings-up that went on—but at the same time we children were playing a hundred and one games all the time! (Livingstone, David B. “J. G. Ballard: Crash: Prophet with Honour.” Spike Magazine, 1999).
Ballard saw that beneath the veneer of civility lurks a violence more real than that “stage set” of everyday reality. He saw that “casual brutality” could exist alongside the everyday normality of his children’s games and school—people are capable of forging normal lives amid extremity. Just as Ballard and the other prisoners had something resembling a normal everyday routine in the camp, the characters in High-Rise carve a new normal from the rising chaos and brutality. This coexistence of violence and civility defines the novel.
In 1981 the French philosopher Jean Baudrillard coined the term “hyperreality” to describe how reality and imitations of reality become indistinguishable in a culture saturated with mass media. Baudrillard cites Mickey Mouse as an example of a hyperreal figure. Originally, Mickey Mouse was a fictional character in a cartoon whose only existence was virtual; he wasn’t based on some original Mickey Mouse in real life. However, at Disney World, Mickey Mouse enters the real world, appearing as someone in a costume. This Mickey Mouse is neither real nor fake—because there is no original, “real” Mickey Mouse on which the others are based, there is no original to fabricate. All of the Mickey Mouses are interchangeable—the one at Disney World is the same as the one at Disneyland; there is no original, no copy, only a hyperreal mascot.
Much of Ballard’s fiction takes place in this distinctly modern realm of the hyperreal. In High-Rise the mechanism of hyperreality is television. The ubiquitous TV screens are portals through which narrative fictions seep into the lives of the residents. These background images permeate the collective unconscious of the building, leading residents to enact the scripted narratives they see onscreen. The residents can’t simply live; they have to live as if they’re on TV. They can’t just assault someone; they also have to film it to rewatch. These mondo-style enactments are neither real nor fake: They’re hyperreal, completely separate from reality. High-Rise depicts a world in which life is indistinguishable from TV.
By J. G. Ballard