The Drowned World

Copyright

Fourth Estate

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This edition published by Fourth Estate in 2014

First published in 1962

Copyright © J. G. Ballard 1962

J. G. Ballard asserts the moral right to be identified as the author of this work

‘The Drowned World’ © Martin Amis 2011

‘Reality Is a Stage Set’ © Travis Elborough 2006

‘Time, Memory and Inner Space’ © J. G. Ballard 1963

A catalogue record for this book is available from the British Library

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

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Source ISBN: 9780007221837

Ebook Edition © OCTOBER 2014 ISBN: 9780007290123

Version: 2016-03-22

Contents

Cover Page

Title Page

Copyright

Introduction by Martin Amis

CHAPTER ONE: On the Beach at the Ritz

CHAPTER TWO: The Coming of the Iguanas

CHAPTER THREE: Towards a New Psychology

CHAPTER FOUR: The Causeways of the Sun

CHAPTER FIVE: Descent into Deep Time

CHAPTER SIX: The Drowned Ark

CHAPTER SEVEN: Carnival of Alligators

CHAPTER EIGHT: The Man with the White Smile

CHAPTER NINE: The Pool of Thanatos

CHAPTER TEN: Surprise Party

CHAPTER ELEVEN: “The Ballad of Mistah Bones”

CHAPTER TWELVE: The Feast of Skulls

CHAPTER THIRTEEN: Too Soon, Too Late

CHAPTER FOURTEEN: Grand Slam

CHAPTER FIFTEEN: The Paradises of the Sun

Reality is a Stage Set

Time, Memory and Inner Space

Keep Reading

About the Author

Also by the Author

About the Publisher

Introduction by Martin Amis

IS PRESCIENCE A LITERARY VIRTUE? And should the work of J. G. Ballard be particularly prized (as some critics maintain) for the ‘uncanny’ accuracy of its forecasts? The answer to both these questions, I suggest, is a cheerful no.

In The Atrocity Exhibition (1970) Ballard famously tapped Ronald Reagan for president. His Hello America (1981), on the other hand, surmised that the United States in its entirety would be evacuated by 1990. The meteorological cataclysms envisaged by his first four novels still look plausible. But the social crisis envisaged by his last four novels – violent and widespread anomie brought about by a glut of leisure and wealth – now looks vanishingly remote.

So here’s a prophecy: fictional divination will always be hopelessly haphazard. The unfolding of world-historical events is itself haphazard (and therefore unaesthetic), and ‘the future’ is in a sense defined by its messy inscrutability. Besides, the art of fiction owes allegiance to a muse, a goddess as pure as her eight sisters, and not to some bustling Madame Sosostris (Eliot’s ‘famous clairvoyant’, with her ‘wicked pack of cards’). Nevertheless there are certain writers whose visionary power is indifferent to the corroboration of mere upshots – writers who seem to be able to feel, and use, the ‘world hum’ of the ‘near-after’. That first quote is from Don DeLillo, who is one such; the second quote is from James Graham Ballard (1930–2009), who is another.

Ballard foresaw manmade climate change, not in The Drowned World (1962), but in The Drought (1964). In The Drought (originally entitled The Burning World), industrial waste has thickened the mantle of the oceans and destroyed the precipitation cycle, transforming the planet into a wilderness of dust and fire. In The Drowned World, ecological catastrophe has a quite different set of causes. The median temperature at the Equator is 180 degrees and rising, the polar ice caps and the permafrost have melted, Europe is ‘a system of giant lagoons’, the American Midwest is ‘an enormous gulf opening into the Hudson Bay’, and the global population (down to five million) huddles within the Arctic and Antarctic Circles (where the thermometers, for now, record a ‘pleasant’ eighty-five). And how did all this come about? Solar instability, pure and simple, with no help whatever from Homo sapiens. So, on the basis of this one novel, Ballard could unobtrusively add his voice to the current Republican debate on global warming – slightly to the left of Rick Perry and Michele Bachmann, true, but slightly to the right of Mitt Romney.

This is an irony we need not fear: indeed, it speeds us on our way to more central questions. As a man (and as a good Green), Ballard was naturally on the side of the angels; but as an artist he is unconditionally of the Devil’s party. He loves the glutinous jungles of The Drowned World and the tindery deserts of The Drought – just as he loves the superhurricane, or express avalanche, of The Wind from Nowhere (1961) and the mineralised multiplicities of The Crystal World (1966). It is the measure of his creative radicalism that he welcomes these desperate dystopias with every atom of his being. When he turned away from hardcore SF in the 1950s, Ballard rejected ‘outer space’ in favour of its opposite: ‘inner space’. Accordingly, he merges with his conjured futures, internalising them in a kind of imaginative martyrdom. The fusion of mood and setting, the mapping of a landscape of the troubled mind – this is what really matters in Ballard. It gives the novels their tight clench of waywardness and fixity.

‘Soon it would be too hot’ is the laconic first sentence of The Drowned World. Its hero, the marine biologist Robert Kerans, is staring out from the balcony of his suite at the Ritz; he is the only (mammalian) occupant of the hotel; the rising water is ten storeys from his feet.

Even through the massive olive-green fronds the relentless power of the sun was plainly tangible. The blunt refracted rays drummed against his bare chest and shoulders … The solar disc was no longer a well-defined sphere, but a wide expanding ellipse that fanned out across the eastern horizon like a colossal fire-ball, its reflection turning the dead leaden surface of the lagoon into a brilliant copper shield.

The sun is alarmingly distended. It is also alarmingly noisy; it ‘thuds’ and ‘booms’; we hear ‘the volcanic pounding’ of its flares.

There are mosquitos the size of dragon flies, hammer-nosed bats, wolf spiders. There are iguanas and basilisks – at one point a large caiman sees Kerans ‘waist-deep among the horse-tails’ and veers towards him, ‘its eyes steadying’ (that ‘steadying’ is awfully good). The water gives off an unendurable reek, ‘the sweet compacted smells of dead vegetation and rotting animal carcases’. Kerans watches the ‘countless reflections of the sun move across the surface in huge sheets of fire, like the blazing faceted eyes of gigantic insects’. Beneath the lagoon is a city: ‘Free of vegetation, apart from a few drifting clumps of Sargasso weed, the streets and shops had been preserved almost intact, like a reflection in a lake that has somehow lost its original.’ The city is London.

Kerans is nominally engaged with a team of scientists on a waterborne testing station, but the work has become pointlessly routine. Fauna and flora are faithfully following ‘the emergent lines anticipated twenty years earlier’, namely an accelerated counter-evolution, a retrogression into a world of lizards and rainforests under a Triassic sun. The human actors have embarked on a parallel process – within the diameter of their own skulls. Early on we learn that something has gone wrong with sleep: at night, the protagonists enter the ‘time jungles’ of uterine dreams, descending into their amniotic past and also into the past of the species, experiencing the ‘archaic memories’ (the ‘organic memories’ of danger and terror) encrypted in their spinal cords. Some fear these dreams. Kerans, of course, embraces them, and yearningly submits to their domination of his waking mind:

Guided by his dreams, he was moving backwards through the emergent past, through a succession of ever stranger landscapes, centred upon the lagoon … At times the circle of water was spectral and vibrant, at others slack and murky, the shore apparently formed of shale, like the dull metallic skin of a reptile. Yet again the soft beaches would glow invitingly with a glossy carmine sheen, the sky warm and limpid, the emptiness of the long stretches of sand total and absolute, filling him with an exquisite and tender anguish.

Ballard gives The Drowned World the trappings of a conventional novel (hero, heroine, authority figure, villain), and equips it with a plot (jeopardy, climax, resolution, coda); but all this feels dutiful and perfunctory, as if conventionality simply bores him. Thus the novel’s backdrop is boldly futuristic while its mechanics seem antique (with something of the boys’-own innocence we find in John Buchan and C. S. Forester). In addition, Ballard’s strikingly ‘square’ dialogue remains a serious lacuna. Here as elsewhere, his dramatis personae – supposedly so gaunt and ghostly – talk like a troupe of British schoolteachers hoisted out of the 1930s: ‘Damn’ shame about old Bodkin’, ‘Capital!’, ‘Touché, Alan’. (Cf. DeLillo, whose dialogue is always fluidly otherworldly.) We conclude that Ballard is quite unstimulated by human interaction – unless it takes the form of something inherently weird, like mob atavism or mass hysteria. What excites him is human isolation.

The ‘otherness’ of Ballard, his mesmeric glazedness, is always attributed to the two years he spent in a Japanese internment camp in Shanghai (1943–5). That experience, I think, should be seen in combination, or in synergy, with the two years he spent dissecting cadavers as a medical student in Cambridge (1949–51). Again the dichotomy: as a man he was ebulliently social (and humorous), but as an artist he is fiercely solitary (and humourless). The outcome, in any event, is a genius for the perverse and the obsessional, realised in a prose style of hypnotically varied vowel sounds (its diction enriched by a wide range of technical vocabularies). In the end, the tensile strength of The Drowned World derives not from its action but from its poetry.

‘Soon it would be too hot.’ Yes, and soon it will be time to abandon the lagoon and the drowned city; they will evacuate north, to one of the last human redoubts, Camp Byrd, in Arctic Greenland. There are, after all, pressing reasons to go: the mutating mosquitos and mutating malarias, the new skin cancers caused by the evaporating cloud cover, the increasingly brazen encroachments of the reptiles, the coming of the Equatorial rain belts and the Equatorial heat. Kerans is, inevitably, the last to leave. He does so on foot (on foot singular, with an infected leg wound and a crutch). And which way is he heading, as the novel closes? Even a reader quite new to Ballard will by this stage consent to the logic of it. ‘There isn’t any other direction.’ He is heading south.

New York, 2011

CHAPTER ONE ON THE BEACH AT THE RITZ

SOON IT WOULD be too hot. Looking out from the hotel balcony shortly after eight o’clock, Kerans watched the sun rise behind the dense groves of giant gymnosperms crowding over the roofs of the abandoned department stores four hundred yards away on the east side of the lagoon. Even through the massive olive-green fronds the relentless power of the sun was plainly tangible. The blunt refracted rays drummed against his bare chest and shoulders, drawing out the first sweat, and he put on a pair of heavy sunglasses to protect his eyes. The solar disc was no longer a well-defined sphere, but a wide expanding ellipse that fanned out across the eastern horizon like a colossal fire-ball, its reflection turning the dead leaden surface of the lagoon into a brilliant copper shield. By noon, less than four hours away, the water would seem to burn.

Usually Kerans woke at five, and reached the biological testing station in time to do at least four or five hours’ work before the heat became intolerable, but this morning he found himself reluctant to leave the cool, air-curtained haven of the hotel suite. He had spent a couple of hours over breakfast alone, and then completed a six-page entry in his diary, deliberately delaying his departure until Colonel Riggs passed the hotel in his patrol boat, knowing that by then it would be too late to go to the station. The Colonel was always eager for an hour of conversation, particularly when sustained by a few rounds of aperitif, and it would be at least eleven-thirty before he left, his thoughts solely upon lunch at the base.

For some reason, however, Riggs had been delayed. Presumably he was carrying out a longer sweep than usual of the adjacent lagoons, or perhaps was waiting for Kerans to arrive at the testing station. For a moment Kerans wondered whether to try to reach him on the radio transmitter installed by the signals unit in the lounge, but the console was buried under a pile of books, its battery flat. The corporal in charge of the radio station at the base had protested to Riggs when his cheerful morning round-up of old pop songs and local news—an attack by two iguanas on the helicopter the previous night, the latest temperature and humidity readings—had been cut off abruptly half-way through the first instalment. But Riggs recognised Kerans’ unconscious attempt to sever his links with the base—the careful haphazardness of the pyramid of books hiding the set contrasted too obviously with Kerans’ otherwise meticulous neatness—and tolerantly accepted his need to isolate himself.

Leaning on the balcony rail, the slack water ten storeys below reflecting his thin angular shoulders and gaunt profile, Kerans watched one of the countless thermal storms rip through a clump of huge horse-tails lining the creek which led out of the lagoon. Trapped by the surrounding buildings and the inversion layers a hundred feet above the water, pockets of air would heat rapidly, then explode upwards like escaping balloons, leaving behind them a sudden detonating vacuum. For a few seconds the steam clouds hanging over the creek dispersed, and a vicious miniature tornado lashed across the 6o-feet-high plants, toppling them like matchsticks. Then, as abruptly, the storm vanished and the great columnar trunks subsided among one another in the water like sluggish alligators.

Rationalising, Kerans told himself that he had been wise to remain in the hotel—the storms were erupting more and more frequently as the temperature rose—but he knew that his real motive was his acceptance that little now remained to be done. The biological mapping had become a pointless game, the new flora following exactly the emergent lines anticipated twenty years earlier, and he was sure that no one at Camp Byrd in Northern Greenland bothered to file his reports, let alone read them.

In fact, old Dr. Bodkin, Kerans’ assistant at the station, had slyly prepared what purported to be an eye-witness description by one of Colonel Riggs’ sergeants of a large sail-backed lizard with a gigantic dorsal fin which had been seen cruising across one of the lagoons, in all respects indistinguishable from the Pelycosaur, an early Pennsylvanian reptile. Had the report been taken at its face value—heralding the momentous return of the age of the great reptiles—an army of ecologists would have descended on them immediately, backed by a tactical atomic weapons unit and orders to proceed south at a steady twenty knots. But apart from the routine acknowledgement signal nothing had been heard. Perhaps the specialists at Camp Byrd were too tired even to laugh.

At the end of the month Colonel Riggs and his small holding unit would complete their survey of the city (had it once been Berlin, Paris or London?, Kerans asked himself) and set off northward, towing the testing station with them. Kerans found it difficult to believe that he would ever leave the penthouse suite where he had lived for the past six months. The Ritz’s reputation, he gladly agreed, was richly deserved—the bathroom, for example, with its black marble basins and gold-plated taps and mirrors, was like the sidechapel of a cathedral. In a curious way it satisfied him to think that he was the last guest who would stay at the hotel, identifying what he realised was a concluding phase of his own life—the northward odyssey through the drowned cities in the south, soon to end with their return to Camp Byrd and its bracing disciplines—and this farewell sunset of the hotel’s long splendid history.

He had commandeered the Ritz the day after their arrival, eager to exchange his cramped cabin among the laboratory benches at the testing station for the huge, high-ceilinged state-rooms of the deserted hotel. Already he accepted the lavish brocaded furniture and the bronze art nouveau statuary in the corridor niches as a natural background to his existence, savouring the subtle atmosphere of melancholy that surrounded these last vestiges of a level of civilisation now virtually vanished forever. Too many of the other buildings around the lagoon had long since slipped and slid away below the silt, revealing their gimcrack origins, and the Ritz now stood in splendid isolation on the west shore, even the rich blue moulds sprouting from the carpets in the dark corridors adding to its 19th-century dignity.

The suite had originally been designed for a Milanese financier, and was lavishly furnished and engineered. The heat curtains were still perfectly sealed, although the first six storeys of the hotel were below water-level and the load walls were beginning to crack, and the 250-amp. air-conditioning unit had worked without a halt. Although it had been unoccupied for ten years little dust had collected over the mantelpieces and gilt end-tables, and the triptych of photographic portraits on the crocodile-skin desk—financier, financier and sleek well-fed family, financier and even sleeker fifty-storey office block—revealed scarcely a blemish. Luckily for Kerans, his predecessor had left in a hurry, and the cupboards and wardrobes were packed with treasure, ivory-handled squash rackets and hand-printed dressing gowns, the cocktail bar stocked with an ample supply of what were now vintage whiskies and brandies.

A giant Anopheles mosquito, the size of a dragon-fly, spat through the air past his face, then dived down towards the floating jetty where Kerans’ catamaran was moored. The sun was still hidden behind the vegetation on the eastern side of the lagoon, but the mounting heat was bringing the huge predatory insects out of their lairs all over the moss-covered surface of the hotel. Kerans was reluctant to leave the balcony and retreat behind the wire-mesh enclosure. In the early morning light a strange mournful beauty hung over the lagoon; the sombre green-black fronds of the gymnosperms, intruders from the Triassic past, and the half-submerged white-faced buildings of the 20th century still reflected together in the dark mirror of the water, the two interlocking worlds apparently suspended at some junction in time, the illusion momentarily broken when a giant waterspider cleft the oily surface a hundred yards away.

In the distance, somewhere beyond the drowned bulk of a large Gothic building half a mile to the south, a diesel engine coughed and surged. Kerans left the balcony, closing the wire door behind him, and went into the bathroom to shave. Water had long ceased to flow through the taps, but Kerans maintained a reservoir in the plunge bath, carefully purified in a home-made still on the roof and piped in through the window.

Although he was only forty, Kerans’ beard had been turned white by the radio-fluorine in the water, but his bleached crew-cut hair and deep amber tan made him appear at least ten years younger. A chronic lack of appetite, and the new malarias, had shrunk the dry leathery skin under his cheekbones, emphasising the ascetic cast of his face. As he shaved he examined his features critically, feeling the narrowing planes with his fingers, kneading the altered musculature which was slowly transforming its contours and revealing a personality that had remained latent during his previous adult life. Despite his introspective manner, he now seemed more relaxed and equable than he could remember, his cool blue eyes surveying himself with ironic detachment. The slightly self-conscious absorption in his own world, with its private rituals and observances, had passed. If he kept himself aloof from Riggs and his men this was simply a matter of convenience rather than of misanthropy.

On the way out he picked a monographed cream silk shirt from the stack left in the wardrobe by the financier, and slipped into a pair of neatly pressed slacks with a Zurich label. Sealing the double doors behind him—the suite was effectively a glass box inside the outer brick walls—he made his way down the staircase.

He reached the landing stage as Colonel Riggs’ cutter, a converted landing craft, pulled in against the catamaran. Riggs stood in the bows, a trim dapper figure, one booted foot up on the ramp, surveying the winding creeks and hanging jungles like an old-time African explorer.

“Good morning, Robert,” he greeted Kerans, jumping down on to the swaying platform of fifty-gallon drums lashed inside a wooden frame. “Glad you’re still here. I’ve got a job on my hands you can help me with. Can you take the day off from the station?”

Kerans helped him on to the concrete balcony that had once jutted from a seventh-floor suite. “Of course, Colonel. As a matter of fact, I have already.”

Technically Riggs had overall authority for the testing station and Kerans should have asked his permission, but the relationship between the two men was without ceremony. They had worked together for over three years, as the testing station and its military escort moved slowly northward through the European lagoons, and Riggs was content to let Kerans and Bodkin get on with their work in their own fashion, sufficiently busy himself with the jobs of mapping the shifting keys and harbours and evacuating the last inhabitants. In the latter task he often needed Kerans’ help, for most of the people still living on in the sinking cities were either psychopaths or suffering from malnutrition and radiation sickness.

In addition to running the testing station, Kerans served as the unit’s medical officer. Many of the people they came across required immediate hospitalisation before being flown out in the helicopter to one of the large tank-landing craft ferrying refugees up to Camp Byrd. Injured military personnel marooned on an office block in a deserted swamp, dying recluses unable to separate their own identities from the cities where they had spent their lives, disheartened freebooters who had stayed behind to dive for loot—all these Riggs good humouredly but firmly helped back to safety, Kerans ready at his elbow to administer an analgesic or tranquilliser. Despite his brisk military front, Kerans found the Colonel intelligent and sympathetic, and with a concealed reserve of droll humour. Sometimes he wondered whether to test this by telling the Colonel about Bodkin’s Pelycosaur, but on the whole decided against it.