Later, as he sat on the balcony eating the dog, Dr Robert Laing reflected on the unusual events that had taken place within this huge apartment building during the previous three months. Now that everything had returned to normal…
J.G Ballard High-Rise 1975
Surely one of the darkest yet funniest openings to a novel in English fiction, J.G Ballard’s cautionary tale on civilisation and its discontents shows, in typically ambiguous fashion, that our inner natures could revolt against the conveniences of modern existence and the alienation implicit in our sanitised, mediated (un)reality.
Written in the hard-edged concrete-and-glass style of the late sixties and early seventies and hot on the heels of the experimental and spectacularly deranged The Atrocity Exhibition and Crash, High-Rise, is with Concrete Island from the same period a return to a more traditional narrative framework. Eschewing the fractured, clinical and compressed ‘novels’ of The Atrocity Exhibition and the hallucinatory cadences of Crash (a prose poem of twisted metal, broken glass and wound patterns), High-Rise follows the three main characters, Dr. Robert Laing (a reference to the author of The Divided Self) who lives on the twenty-five floor; Richard Wilder a documentary film-maker down near street level on the second floor and the buildings architect Anthony Royal who lords it over them all in the fortieth floor penthouse as the amenities within the luxurious, self-contained high-rise block starts to break down, causing the affluent, well educated residents to wilfully and joyfully participate in the destruction of the building and revert to tribalism and barbarism. Always subversive, Ballard wickedly suggests that the only possible way to be free is to regress, discarding all civilised constraints and acting upon our deviant impulses and innate cruelty.
Royal detested this orthodoxy of the intelligent. Visiting his neighbours apartments, he would find himself physically repelled by the contours of an award-winning coffee-pot, by the well modulated colour schemes, by the good taste and intelligence that, Midas-like, had transformed everything in these apartments into an ideal marriage of function and design….Royal would have given anything for one vulgar mantelpiece ornament, one less than snow-white lavatory bowl, one hint of hope. Thank God that they were at last breaking out of this fur-lined prison.
Ben Wheatley’s stylish film version of High-Rise, starring Tom Hiddleston, Jeremy Irons and Sienna Miller and produced by Jeremy Thomas who was responsible for David Cronenberg’s film version of Crash was released in 2015.