The Complete Short Stories

by J. G. Ballard

  As the main body of the mob reached the house, it began to cross the wall at all points along its length. Jostled together, the people stumbled into the dry lake, swarmed over the terrace and pressed through the house towards the open doors on the north side.

  One area alone withstood the endless wave. Just below the terrace, between the wrecked balcony and the wall, was a dense, six-foot-high growth of heavy thorn-bushes. The barbed foliage formed an impenetrable mass, and the people passing stepped around it carefully, noticing the belladonna entwined among the branches. Most of them were too busy finding their footing among the upturned flagstones to look up into the centre of the thornbushes, where two stone statues stood side by side, gazing out over the grounds from their protected vantage point. The larger of the figures was the effigy of a bearded man in a high-collared jacket, a cane under one arm. Beside him was a woman in an elaborate full-skirted dress, her slim, serene face unmarked by the wind and rain. In her left hand she lightly clasped a single rose, the delicately formed petals so thin as to be almost transparent.

  As the sun died away behind the house a single ray of light glanced through a shattered cornice and struck the rose, reflected off the whorl of petals on to the statues, lighting up the grey stone so that for a fleeting moment it was indistinguishable from the long-vanished flesh of the statues' originals.

  1962

  The Thousand Dreams of Stellavista

  No one ever comes to Vermilion Sands now, and I suppose there are few people who have ever heard of it. But ten years ago, when Fay and I first went to live at 99 Stellavista, just before our marriage broke up, the colony was still remembered as the one-time playground of movie stars, delinquent heiresses and eccentric cosmopolites in those fabulous years before the Recess. Admittedly most of the abstract villas and fake palazzos were empty, their huge gardens overgrown, two-level swimming pools long drained, and the whole place was degenerating like an abandoned amusement park, but there was enough bizarre extravagance in the air to make one realize that the giants had only just departed.

  I remember the day. we first drove down Stellavista in the property agent's car, and how exhilarated Fay and I were, despite our bogus front of bourgeois respectability. Fay, I think, was even a little awed - one or two of the big names were living on behind the shuttered terraces - and we must have been the easiest prospects the young agent had seen for months.

  Presumably this was why he tried to work off the really weird places first. The half dozen we saw to begin with were obviously the old regulars, faithfully paraded in the hope that some unwary client might be staggered into buying one of them, or failing that, temporarily lose all standards of comparison and take the first tolerably conventional pile to come along.

  One, just off Stellavista and M, would have shaken even an old-guard surrealist on a heroin swing. Screened from the road by a mass of dusty rhododendrons, it consisted of six aluminium-shelled spheres suspended like the elements of a mobile from an enormous concrete davit. The largest sphere contained the lounge, the others, successively smaller and spiralling upwards into the air, the bedrooms and kitchen. Many of the hull plates had been holed, and the entire slightly tarnished structure hung down into the weeds poking through the cracked concrete court like a collection of forgotten spaceships in a vacant lot.

  Stamers, the agent, left us sitting in the car, partly shielded by the rhododendrons. He ran across to the entrance and switched the place on (all the houses in Vermilion Sands, it goes without saying, were psychotropic). There was a dim whirring, and the spheres tipped and began to rotate, brushing against the undergrowth.

  Fay sat in the car, staring up in amazement at this awful, beautiful thing, but out of curiosity I got out and walked over to the entrance, the main sphere slowing as I approached, uncertainly steering a course towards me, the smaller ones following.

  According to the descriptive brochure, the house had been built eight years earlier for a TV mogul as a weekend retreat. The pedigree was a long one, through two movie starlets, a psychiatrist, an ultrasonic composer (the late Dmitri Shochmann - a notorious madman. I remembered that he had invited a score of guests to his suicide party, but no one had turned up to watch. Chagrined, he bungled the attempt.) and an automobile stylist. With such an overlay of more or less blue-chip responses built into it, the house should have been snapped up within a week, even in Vermilion Sands. To have been on the market for several months, if not years, indicated that the previous tenants had been none too happy there.

  Ten feet from me, the main sphere hovered uncertainly, the entrance extending downwards. Stamers stood in the open doorway, smiling encouragingly, but the house seemed nervous of something. As I stepped forward it suddenly jerked away, almost in alarm, the entrance retracting and sending a low shudder through the rest of the spheres.

  It's always interesting to watch a psychotropic house try to adjust itself to strangers, particularly those at all guarded or suspicious. The responses vary, a blend of past reactions to negative emotions, the hostility of the previous tenants, a traumatic encounter with a bailiff or burglar (though both these usually stay well away from PT houses; the dangers of an inverting balcony or the sudden deflatus of a corridor are too great). The initial reaction can be a surer indication of a house's true condition than any amount of sales talk about horsepower and moduli of elasticity.

  This one was definitely on the defensive. When I climbed on to the entrance Stamers was fiddling desperately with the control console recessed into the wall behind the door, damping the volume down as low as possible. Usually a property agent will select medium/full, trying to heighten the PT responses.

  He smiled thinly at me. 'Circuits are a little worn. Nothing serious, we'll replace them on contract. Some of the previous owners were showbusiness people, had an over-simplified view of the full life.

  I nodded, walking on to the balcony which ringed the wide sunken lounge. It was a beautiful room all right, with opaque plastex walls and white fluo-glass ceiling, but something terrible had happened there. As it responded to me, the ceiling lifted slightly and the walls grew less opaque, reflecting my perspective-seeking eye. I noticed that curious mottled knots were forming where the room had been strained and healed faultily. Hidden rifts began to distort the sphere, ballooning out one of the alcoves like a bubble of over-extended gum.

  Stamers tapped my elbow.

  'Lively responses, aren't they, Mr Talbot?' He put his hand on the wall behind us. The plastex swam and whirled like boiling toothpaste, then extruded itself into a small ledge. Stamers sat down on the lip, which quickly expanded to match the contours of his body, providing back and arm rests. 'Sit down and relax, Mr Talbot, let yourself feel at home here.'

  The seat cushioned up around me like an enormous white hand, and immediately the walls and ceiling quietened - obviously Stamers's first job was to get his clients off their feet before their restless shuffling could do any damage. Someone living there must have put in a lot of anguished pacing and knuckle-cracking.

  'Of course, you're getting nothing but custom-built units here,' Stamers said. 'The vinyl chains in this plastex were hand-crafted literally molecule by molecule.'

  I felt the room shift around me. The ceiling was dilating and contracting in steady pulses, an absurdly exaggerated response to our own respiratory rhythms, but the motions were overlayed by sharp transverse spasms, feed-back from some cardiac ailment.

  The house was not only frightened of us, it was seriously ill. Somebody, Dmitri Shochmann perhaps, overflowing with self-hate, had committed an appalling injury to himself, and the house was recapitulating its previous response. I was about to ask Stamers if the suicide party had been staged here when he sat up and looked around fretfully.

  At the same time my ears started to sing. Mysteriously, the air pressure inside the lounge was building up, gusts of old grit whirling out into the hallway towards the exit.

  Stamers was on his feet, the seat telescoping back into the wall. />
  'Er, Mr Talbot, let's stroll around the garden, give you the feel of-'

  He broke off, face creased in alarm. The ceiling was only five feet above our heads, contracting like a huge white bladder.

  '-explosive decompression,' Stamers finished automatically, taking my arm. 'I don't understand this,' he muttered as we ran out into the hallway, the air whooshing past us.

  I had a shrewd idea what was happening, and sure enough we found Fay peering into the control console, swinging the volume tabs.

  Stamers dived past her. We were almost dragged back into the lounge as the ceiling began its outward leg and sucked the air in through the doorway. He reached the emergency panel and switched the house off.

  Wide-eyed, he buttoned his shirt. 'That was close, Mrs Talbot, really close.' He gave a light hysterical laugh.

  As we walked back to the car, the giant spheres resting among the weeds, he said: 'Well, Mr Talbot, it's a fine property. A remarkable pedigree for a house only eight years old. An exciting challenge, you know, a new dimension in living.'

  I gave him a weak smile. 'Maybe, but it's not exactly us, is it?'

  ***

  We had come to Vermilion Sands for two years, while I opened a law office in downtown Red Beach twenty miles away. Apart from the dust, smog and inflationary prices of real estate in Red Beach, a strong motive for coming out to Vermilion Sands was that any number of potential clients were mouldering away there in the old mansions - forgotten movie queens, lonely impresarios and the like, some of the most litigious people in the world. Once installed, I could make my rounds of the bridge tables and dinner parties, tactfully stimulating a little righteous will-paring and contract-breaking.

  However, as we drove down Stellavista on our inspection tour I wondered if we'd find anywhere suitable. Rapidly we went through a mock Assyrian ziggurat (the last owner had suffered from St Vitus's Dance, and the whole structure still jittered like a galvanized Tower of Pisa), and a converted submarine pen (here the problem had been alcoholism, we could feel the gloom and helplessness come down off those huge damp walls).

  Finally Stamers gave up and brought us back to earth. Unfortunately his more conventional properties were little better. The real trouble was that most of Vermilion Sands is composed of early, or primitive-fantastic psychotropic, when the possibilities offered by the new bio-plastic medium rather went to architects' heads. It was some years before a compromise was reached between the one hundred per cent responsive structive and the rigid non-responsive houses of the past. The first PT houses had so many senso-cells distributed over them, echoing every shift of mood and position of the occupants, that living in one was like inhabiting someone else's brain.

  Unluckily bioplastics need a lot of exercise or they grow rigid and crack, and many people believe that PT buildings are still given unnecessarily subtle memories and are far too sensitive - there's the apocryphal story of the millionaire of plebian origins who was literally frozen out of a million-dollar mansion he had bought from an aristocratic family. The place had been trained to respond to their habitual rudeness and bad temper, and reacted discordantly when readjusting itself to the millionaire, unintentionally parodying his soft-spoken politeness.

  But although the echoes of previous tenants can be intrusive, this naturally has its advantages. Many medium-priced PT homes resonate with the bygone laughter of happy families, the relaxed harmony of a successful marriage. It was something like this that I wanted for Fay and myself. In the previous year our relationship had begun to fade a little, and a really well-integrated house with a healthy set of reflexes - say, those of a prosperous bank president and his devoted spouse - would go a long way towards healing the rifts between us.

  Leafing through the brochures when we reached the end of Stellavista I could see that domesticated bank presidents had been in short supply at Vermilion Sands. The pedigrees were either packed with ulcer-ridden, quadri-divorced TV executives, or discreetly blank.

  99 Stellavista was in the latter category. As we climbed out of the car and walked up the short drive I searched the pedigree for data on the past tenants, but only the original owner was given: a Miss Emma Slack, psychic orientation unstated.

  That it was a woman's house was obvious. Shaped like an enormous orchid, it was set back on a low concrete dais in the centre of a blue gravel court. The white plastex wings, which carried the lounge on one side and the master bedroom on the other, spanned out across the magnolias on the far side of the drive. Between the two wings, on the first floor, was an open terrace around a heart-shaped swimming pool. The terrace ran back to the central bulb, a three-storey segment containing the chauffeur's apartment and a vast two-decker kitchen.

  The house seemed to be in good condition. The plastex was unscarred, its thin seams running smoothly to the far rim like the veins of a giant leaf.

  Curiously, Stamers was in no hurry to switch on. He pointed to left and right as we made our way up the glass staircase to the terrace, underlining various attractive features, but made no effort to find the control console, and suspected that the house might be a static conversion - a fair number of PT houses are frozen in one or other position at the end of their working lives, and make tolerable static homes.

  'It's not bad,' I admitted, looking across the powder-blue water as Stamers piled on the superlatives. Through the glass bottom of the pool the car parked below loomed like a coloured whale asleep on the ocean bed. 'This is the sort of thing, all right. But what about switching it on?'

  Stamers stepped around me and headed after Fay. 'You'll want to see the kitchen first, Mr Talbot. There's no hurry, let yourself feel at home here.'

  The kitchen was fabulous, banks of gleaming control panels and auto units. Everything was recessed and stylized, blending into the overall colour scheme, complex gadgets folding back into self-sealing cabinets. Boiling an egg there would have taken me a couple of days.

  'Quite a plant,' I commented. Fay wandered around in a daze of delight, automatically fingering the chrome. 'Looks as if it's tooled up to produce penicillin.' I tapped the brochure. 'But why so cheap? At twenty-five thousand it's damn nearly being given away.'

  Stamers's eyes brightened. He flashed me a broad conspiratorial smile which indicated that this was my year, my day. Taking me off on a tour of the rumpus room and library, he began to hammer home the merits of the house, extolling his company's thirty-five-year, easy-purchase plan (they wanted anything except cash - there was no money in that) and the beauty and simplicity of the garden (mostly flexible polyurethane perennials).

  Finally, apparently convinced that I was sold, he switched the house on.

  I didn't know then what it was, but something strange had taken place in that house. Emma Slack had certainly been a woman with a powerful and oblique personality. As I walked slowly around the empty lounge, feeling the walls angle and edge away, doorways widen when I approached, curious echoes stirred through the memories embedded in the house. The responses were undefined, but somehow eerie and unsettling, like being continually watched over one's shoulder, each room adjusting itself to my soft, random footsteps as if they contained the possibility of some explosive burst of passion or temperament.

  Inclining my head, I seemed to hear other echoes, delicate and feminine, a graceful swirl of movement reflected in a brief, fluid sweep in one corner, the decorous unfolding of an archway or recess.

  Then, abruptly, the mood would invert, and the hollow eeriness return.

  Fay touched my arm. 'Howard, it's strange.'

  I shrugged. 'Interesting, though. Remember, our own responses will overlay these within a few days.'

  Fay shook her head. 'I couldn't stand it, Howard. Mr Stamers must have something normal.'

  'Darling, Vermilion Sands is Vermilion Sands. Don't expect to find the suburban norms. People here were individualists.'

  I looked down at Fay. Her small oval face, with its childlike mouth and chin, the fringe of blonde hair and pert nose, seemed lost a
nd anxious.

  I put my arm around her shoulder. 'Okay, sweetie, you're quite right. Let's find somewhere we can put our feet up and relax. Now, what are we going to say to Stamers?'

  Surprisingly, Stamers didn't seem all that disappointed. When I shook my head he put up a token protest but soon gave in and switched off the house.

  'I know how Mrs Talbot feels,' he conceded as we went down the staircase. 'Some of these places have got too much personality built into them. Living with someone like Gloria Tremayne isn't too easy.'

  I stopped, two steps from the bottom, a curious ripple of recognition running through my mind.

  'Gloria Tremayne? I thought the only owner was a Miss Emma Slack.'

  Stamers nodded. 'Yes. Gloria Tremayne. Emma Slack was her real name. Don't say I told you, though everybody living around here knows it. We keep it quiet as long as we can. If we said Gloria Tremayne no one would even look at the place.'

  'Gloria Tremayne,' Fay repeated, puzzled. 'She was the movie star who shot her husband, wasn't she? He was a famous architect Howard, weren't you on that case?'

  As Fay's voice chattered on I turned and looked up the staircase towards the sun-lounge, my mind casting itself back ten years to one of the most famous trials of the decade, whose course and verdict were as much as anything else to mark the end of a whole generation, and show up the irresponsibilities of the world before the Recess. Even though Gloria Tremayne had been acquitted, everyone knew that she had coldbloodedly murdered her husband, the architect Miles Vanden Starr. Only the silver-tongued pleading of Daniel Hammett, her defence attorney, assisted by a young man called Howard Talbot, had saved her. I said to Fay, 'Yes, I helped to defend her. It seems a long time ago. Angel, wait in the car. I want to check something.'