A Point Of View: JG Ballard and the alchemy of memory

Actor Christian Bale, playing the character Jim Graham, in a scene from film Empire of the Sun

Author JG Ballard was interned in World War II China as a teenager - an experience which formed the basis of his best-selling novel Empire of the Sun. How did the memories of that early trauma influence his fiction, asks philosopher John Gray.

Looking for his best friend as a teenager in an apartment block in Shanghai, the writer JG Ballard remembered "suddenly finding that the building was totally empty, and wandering around those empty flats with the furniture still in place, total silence, just the odd window swinging in the wind".

Around the same time, while he was roaming around the city's waterfront, Ballard rowed out to the ships, freighters and steamers that had been sunk to form a boom in the harbour.

As he recalled in an interview, "I remember walking onto the decks, with water swilling through the staterooms. Given the stability of the society we now live in, this is very difficult to convey."

Even more than the time he spent in the Japanese prison camp outside Shanghai, Ballard's experience of a great city from which all signs of normal life had disappeared shaped him for the rest of his life.

Find out more

John Gray
  • John Gray is a political philosopher and author of False Dawn: The Delusions of Global Capitalism

When asked why it took him so long to write Empire of the Sun, a fictionalised version of his early years that Steven Speilberg turned into a highly successful film, Ballard said, "It took me 20 years to forget, and 20 years to remember."

Forgetting Shanghai was part of life for him in post-war Britain, where he arrived with his mother in 1946.

At least for a Westerner, Shanghai was an intensely exciting place, with dozens of radio stations, unlimited advertising and extremes of wealth and poverty reflected in an ever-changing media landscape.

In some ways the city was an extreme version of the world we now inhabit. The contrast with Britain in the immediate aftermath of WWII was sharp - and in Ballard's eyes, the differences were not always to Britain's advantage.

Arriving in Portsmouth, he noticed what appeared to be coal scuttles moving about on the docks, only to realise that the small moving objects were actually motor cars.

The pokey British cars, so different from the spacious Cadillacs he used to see cruising around in Shanghai, seemed to him - then and later - to epitomise the cramped and shabby country he had entered.

People queuing for coal After World War II Britain saw widespread shortages and rationing

There was a more fundamental reason why Ballard needed to forget Shanghai.

His experiences there had been traumatic, and if they revealed to him the flimsiness of everyday existence, it was a revelation that he found hard to live with. He often used to say that human societies are like stage sets, which seem substantial enough until the props are abruptly overturned and the stage is left empty and abandoned.

In any longer view, the endemic instability of human institutions is clear, but it is denied by all of those who project an illusion of progress back into history and forwards into the future.

Ballard was never tempted to succumb to the comforting fantasy that order in society is slowly increasing, but like any other human being, he needed to find meaning in the incidents of his life. He achieved this by transforming the desolate scenes he had witnessed as a child into the fantastic and lovely images that fill his books.

JG Ballard in brief

JG Ballard
  • 1930: Born in Shanghai to British parents
  • 1943-45: Interned in Japanese camp
  • 1946: Returned to Britain with mother
  • 1949: Studied medicine at Cambridge but left university early
  • 1953: Joined RAF, based in Canada flight training centre for six months
  • 1962: First novel published
  • 1984: Empire of the Sun published
  • 2009: Died in London, England

As critics have noted, the same scenery recurs throughout Ballard's writings.

Drained swimming pools, low-flying aircraft and eerily deserted hotels and casinos appear in many of his novels and short stories.

Some have found Ballard's landscapes repetitive and obsessive, but for me they have enormous power because they invest scenes of desolation with life-affirming meaning and beauty. He hadn't truly forgotten the empty apartments in which as a boy he had searched for his friend.

Images of what he had seen remained in his mind, many of them too painful to be allowed into full awareness. But even if they couldn't be directly accessed by him, these memories continued to be active and returned to him again and again through the channel of his fiction.

In The Garden of Time, a short story published in 1962, Ballard portrays two aristocrats, Count Axel and his wife, besieged in an exquisite castle garden by an advancing mob.

The garden contains crystalline flowers at the tops of whose stems are goblet-shaped blossoms, which when snapped from the stem, drain the garden of time and motion. Each evening the count snaps off one of the time flowers.

As he carries the crystal blossom onto the terrace, the menacing rabble retreats and he and his wife are safe for another day. But the stems no longer bear fruit, the flowers are being used up, and the count realises that time could not be stopped forever.

When the last flower has been picked and the horde finally reach the castle, the garden contains two stone statues, a man and a woman side by side, looking calmly over the castle grounds, the woman clasping a single, almost transparent flower.

While this enchanting fable can be interpreted in a number of ways, I'm inclined to read it as an allegory of the contradictions of memory.

If our memories lend a pattern to our lives, they also condemn us to repeat the past - especially when they concern traumatic events. We struggle to rid ourselves of the traces that are left in us by painful episodes in our lives; but these buried images never go away, only shift their shapes.

Women and children are evacuated from Shanghai JG Ballard was deeply affected by what he saw in Shanghai in the 1940s

Whether conscious or not, they're constantly mutating and however much we want to banish them, they keep on coming back to us.

Like the seething mob advancing on the aristocrats in their castle, our memories threaten the peace of mind we so dearly cherish. We look for a talisman against memory, some magic that can reverse the course of time.

But the magic doesn't really work, and if we persist in the struggle to keep our memories at bay we may come to resemble the stone statues in the garden, transfixed and petrified by the past.

In Ballard's case the magic was the power of his imagination, and unlike the crystal blossoms of his story it brought him life.

Through a kind of inner alchemy, the Shanghai of his childhood became the London of his first major novel The Drowned World, also published in 1962.

Irreversibly altered by climate change so that it has become a region of tropical lagoons and advancing jungle, the city is almost unrecognisable, though the weed-choked streets remain intact in the depths of the lagoons and the upper floors of a few crumbling hotels continue to be habitable.

Like many of Ballard's characters, the novel's central protagonist - a biologist who shares many of Ballard's own preoccupations with time and memory - doesn't regret the passing of the old world. At the end of the novel he finds fulfilment in the sun-filled wilderness that is swallowing up the past.

Memories of Shanghai as he knew it as a child shaped Ballard's writings for the following 20 years, filling them with scenes that seem to exist out of time.

In 1984 he published Empire of the Sun and in 1991 The Kindness of Women, novels in which his childhood and later life were re-imagined in terms closer to the actualities of his experience.

In 2008, a year before he died, he retold the story more directly in his memoir Miracles of Life.

Empire of the Sun on screen

  • Released in 1988, directed by Steven Spielberg
  • Said to be first major Hollywood production to be filmed in People's Republic of China
  • JG Ballard's novel adapted to screen by playwright Tom Stoppard
  • Stars Christian Bale as young lead Jim Graham
  • Cast includes John Malkovich, Nigel Havers and Miranda Richardson

The life he had struggled to forget he was now free to tell from memory.

The workings of memory seem contradictory because they obey conflicting human impulses.

By preserving our experiences in recollection, we conserve the meaning in our lives. If we couldn't look back, the present would be empty, a recurring moment without significance.

We have a picture of ourselves as acting meaningfully only because we can reconstruct our lives as a succession of events linked in recollection.

But what we remember isn't a matter of will or choice, and what is retained in the mind can easily become a burden. While we struggle to preserve the past, we can at the same time long to leave it behind.

Inwardly Ballard never did leave Shanghai, but in time the fact ceased to trouble him.

Through the alchemy of memory, the leaden buildings in which he'd wandered as a boy became the golden vistas of his fiction, and the traumas of his childhood were transmuted into images of fulfilment.

Here is a selection of your comments.

Thank you for this. James was a contemporary of mine, a fellow writer, and I would suggest a great one: certainly better than many who entered the canon - both in literary terms and in his instinct to transmute the horrific into the bearable, and sometimes even the beautiful. He would not for one moment resist being described as a genre writer in Wiki -sci-fi - but for heaven's sake! One of the greatest we have?

Fay Weldon, UK

A fitting tribute to the man JG Ballard, and a good analysis of his work. Reminds me of the following aphorism: "The past weighs heavily on us; it is the Old Man of the Sea, and we cannot get rid of it. The future, somehow, always escapes and is never present. Indeed, the very present is contradictory - always present and yet absent at the same time." But, of course, time takes care of everything sooner or later. The point about reconstructing our lives is a most cogent one.

D. Fear, Heidelberg, Germany

It is indeed true that our memories locate us in space as well as time. I once had the experience of losing my memory. I was then isolated outside a hospital in Tunbridge Wells, not knowing what I was doing there, where I was, or whether to step forward or back. It paralyses the entire body and was a terrifying moment.

Jonathan Chiswell Jones, Eastbourne East Sussex

Mr Gray is correct that traumatic events might never go away, but merely shift their shape. Awful recollections are often spontaneous, and disturbing emotions are not under our conscious control. Nonetheless, our memories need not necessarily lend a pattern to our lives. Memories can be an empirical background that allows us to make sense of our current experiences and plans. Those who have a vision of a different future are not condemned to repeat the past. Though we may be haunted by awful memories, we may find a little consolation in the fact that the real events they represent are after all behind us.

Alan Robinson, Svendborg, Denmark

I was given 'The Drowned World' by my father as a Christmas present. It was unforgettable. I read many of Ballard's works after, and his dream-like imagery was not terminal but pheonix-like. The values of money and wealth were irrelevant: only the inner core of self remained, to grow again. I was at school in South Wales at the time and when I needed to think, would climb the mountainside at the back of the house. There, only the wind and the clouds, the elements existed, the only things strong enough to match the emotions and the soul. Then there were the ruins, such as Tintern Abbey, where the expression of something enormously powerful now gone yet still hugely expressive of the soul fed my being. Ballard doesn't leave us with nothing, but the desire to make something again.

Charles Davey, Saffron Walden, Essex

I'm a great fan of Ballard yet I think it's a mistake to overplay the chiuldhood experiences, we also need to remember the times he lived through, his engagement with sci-fi when it wascutting edge, his 60's drugs, his conceptual art - Ballard was able to understand the development of modern society in quite different ways from so many other artists, I could go on, but he's great. Interestingly I may sometimes disagree with his politics, I am a keen Green, yet I am c onstantly caught in his visions of what's real and what we really want or think we want.

Andy Pratt, Plymouth

Curious that you have omitted to mention another Ballard piece that spawned the film 'Crash'. 'The Atrocity Exhibition' (1970) is collection of 'condensed novels' dealing with themes of sexual chaos and violence that probably had their roots in Ballard's adolescent sexual developent in Shanghai. Deeply disturbing and immediately controversial, even the book's publishers tried to surpress it. After 42 years, the froth has subsided and it's still worth a read.

Nick H, South Coast UK

J.G.Ballard was a memorable writer and the first book of his I read was The Kindness of Women which was a tragic account of the untimely death of his wife and his efforts to survive loss and face the unimaginable task of bringing up his two daughters. Later I read everything and anything of his writing I could find, I wasnt always in UK and it was a challenge sometimes to find his work. I know his daughters left his works to the BL.

Sheena Ferguson, Brentford,UK

When I'd been a cadet, one term, we'd studied (among much else) a play by Shaw and a tragedy by Shakespeare. Shaw's plays had a clear message, explained importantly in the preface to each. One may question if early experience influenced his writing to a very great extent. Did Shakespeare have a message or were his works coloured by childhood traumas? Could he not have just written to earn a living in the then world of entertainment? Of course, all actions and imaginations by everyone are influenced by their experiences to a greater or lesser extent. However, could it be that we may assign an undue importance to these? Certainly, please inform Mr John Gray that his thesis in this case tends to convince one of its validity.

Lt Col Nandan Nilakanta, Chennai, India

If you are happy to be contacted by a BBC journalist please leave a telephone number that we can contact you on. In some cases a selection of your comments will be published, displaying your name as you provide it and location, unless you state otherwise. Your contact details will never be published. When sending us pictures, video or eyewitness accounts at no time should you endanger yourself or others, take any unnecessary risks or infringe any laws. Please ensure you have read the terms and conditions.

Terms and conditions

More on This Story

The BBC is not responsible for the content of external Internet sites

Features

BBC © 2014 The BBC is not responsible for the content of external sites. Read more.

This page is best viewed in an up-to-date web browser with style sheets (CSS) enabled. While you will be able to view the content of this page in your current browser, you will not be able to get the full visual experience. Please consider upgrading your browser software or enabling style sheets (CSS) if you are able to do so.