The Complete Stories of J. G. Ballard

by J. G. Ballard

  Today!

  Take a westbound Green to 298th Street, cross over at the intersection and get a Red elevator up to Level 237. Walk down to the station on Route 175, change to a 438 suburban and go down to 795th Street. Take a Blue line to the Plaza, get off at 4th and 275th, turn left at the roundabout and –

  You’re back where you first started from.

  $Hell x 10n.

  1957

  VENUS SMILES

  Low notes on a high afternoon.

  As we drove away after the unveiling my secretary said, ‘Mr Hamilton, I suppose you realize what a fool you’ve made of yourself ?’

  ‘Don’t sound so prim,’ I told her. ‘How was I to know Lorraine Drexel would produce something like that?’

  ‘Five thousand dollars,’ she said reflectively. ‘It’s nothing but a piece of old scrap iron. And the noise! Didn’t you look at her sketches? What’s the Fine Arts Committee for?’

  My secretaries have always talked to me like this, and just then I could understand why. I stopped the car under the trees at the end of the square and looked back. The chairs had been cleared away and already a small crowd had gathered around the statue, staring up at it curiously. A couple of tourists were banging one of the struts, and the thin metal skeleton shuddered weakly. Despite this, a monotonous and high-pitched wailing sounded from the statue across the pleasant morning air, grating the teeth of passers-by.

  ‘Raymond Mayo is having it dismantled this afternoon,’ I said. ‘If it hasn’t already been done for us. I wonder where Miss Drexel is?’

  ‘Don’t worry, you won’t see her in Vermilion Sands again. I bet she’s halfway to Red Beach by now.’

  I patted Carol on the shoulder. ‘Relax. You looked beautiful in your new skirt. The Medicis probably felt like this about Michelangelo. Who are we to judge?’

  ‘You are,’ she said. ‘You were on the committee, weren’t you?’

  ‘Darling,’ I explained patiently. ‘Sonic sculpture is the thing. You’re trying to fight a battle the public lost thirty years ago.’

  We drove back to my office in a thin silence. Carol was annoyed because she had been forced to sit beside me on the platform when the audience began to heckle my speech at the unveiling, but even so the morning had been disastrous on every count. What might be perfectly acceptable at Expo 75 or the Venice Biennale was all too obviously passé at Vermilion Sands.

  When we had decided to commission a sonic sculpture for the square in the centre of Vermilion Sands, Raymond Mayo and I had agreed that we should patronize a local artist. There were dozens of professional sculptors in Vermilion Sands, but only three had deigned to present themselves before the committee. The first two we saw were large, bearded men with enormous fists and impossible schemes – one for a hundred-foot-high vibrating aluminum pylon, and the other for a vast booming family group that involved over fifteen tons of basalt mounted on a megalithic step-pyramid. Each had taken an hour to be argued out of the committee room.

  The third was a woman: Lorraine Drexel. This elegant and autocratic creature in a cartwheel hat, with her eyes like black orchids, was a sometime model and intimate of Giacometti and John Cage. Wearing a blue crêpe de Chine dress ornamented with lace serpents and other art nouveau emblems, she sat before us like some fugitive Salome from the world of Aubrey Beardsley. Her immense eyes regarded us with an almost hypnotic calm, as if she had discovered that very moment some unique quality in these two amiable dilettantes of the Fine Arts Committee.

  She had lived in Vermilion Sands for only three months, arriving via Berlin, Calcutta and the Chicago New Arts Centre. Most of her sculpture to date had been scored for various Tantric and Hindu hymns, and I remembered her brief affair with a world-famous pop-singer, later killed in a car crash, who had been an enthusiastic devotee of the sitar. At the time, however, we had given no thought to the whining quarter-tones of this infernal instrument, so grating on the Western ear. She had shown us an album of her sculptures, interesting chromium constructions that compared favourably with the run of illustrations in the latest art magazines. Within half an hour we had drawn up a contract.

  I saw the statue for the first time that afternoon thirty seconds before I started my speech to the specially selected assembly of Vermilion Sands notables. Why none of us had bothered to look at it beforehand I fail to understand. The title printed on the invitation cards – ‘Sound and Quantum: Generative Synthesis 3’ – had seemed a little odd, and the general shape of the shrouded statue even more suspicious. I was expecting a stylized human figure but the structure under the acoustic drapes had the proportions of a medium-sized radar aerial. However, Lorraine Drexel sat beside me on the stand, her bland eyes surveying the crowd below. A dream-like smile gave her the look of a tamed Mona Lisa.

  What we saw after Raymond Mayo pulled the tape I tried not to think about. With its pedestal the statue was twelve feet high. Three spindly metal legs, ornamented with spikes and crosspieces, reached up from the plinth to a triangular apex. Clamped on to this was a jagged structure that at first sight seemed to be an old Buick radiator grille. It had been bent into a rough U five feet across, and the two arms jutted out horizontally, a single row of sonic cores, each about a foot long, poking up like the teeth of an enormous comb. Welded on apparently at random all over the statue were twenty or thirty filigree vanes.

  That was all. The whole structure of scratched chromium had a blighted look like a derelict antenna. Startled a little by the first shrill whoops emitted by the statue, I began my speech and was about halfway through when I noticed that Lorraine Drexel had left her seat beside me. People in the audience were beginning to stand up and cover their ears, shouting to Raymond to replace the acoustic drape. A hat sailed through the air over my head and landed neatly on one of the sonic cores. The statue was now giving out an intermittent high-pitched whine, a sitar-like caterwauling that seemed to pull apart the sutures of my skull. Responding to the boos and protests, it suddenly began to whoop erratically, the horn-like sounds confusing the traffic on the far side of the square.

  As the audience began to leave their seats en masse I stuttered inaudibly to the end of my speech, the wailing of the statue interrupted by shouts and jeers. Then Carol tugged me sharply by the arm, her eyes flashing. Raymond Mayo pointed with a nervous hand.

  The three of us were alone on the platform, the rows of overturned chairs reaching across the square. Standing twenty yards from the statue, which had now begun to whimper plaintively, was Lorraine Drexel. I expected to see a look of fury and outrage on her face, but instead her unmoving eyes showed the calm and implacable contempt of a grieving widow insulted at her husband’s funeral. As we waited awkwardly, watching the wind carry away the torn programme cards, she turned on a diamond heel and walked across the square.

  No one else wanted anything to do with the statue, so I was finally presented with it. Lorraine Drexel left Vermilion Sands the day it was dismantled. Raymond spoke briefly to her on the telephone before she went. I presumed she would be rather unpleasant and didn’t bother to listen in on the extension.

  ‘Well?’ I asked. ‘Does she want it back?’

  ‘No.’ Raymond seemed slightly preoccupied. ‘She said it belonged to us.’

  ‘You and me?’

  ‘Everybody.’ Raymond helped himself to the decanter of scotch on the veranda table. ‘Then she started laughing.’

  ‘Good. What at?’

  ‘I don’t know. She just said that we’d grow to like it.’

  There was nowhere else to put the statue so I planted it out in the garden. Without the stone pedestal it was only six feet high. Shielded by the shrubbery, it had quietened down and now emitted a pleasant melodic harmony, its soft rondos warbling across the afternoon heat. The sitar-like twangs, which the statue had broadcast in the square like some pathetic love-call from Lorraine Drexel to her dead lover, had vanished completely, almost as if the statue had been rescored. I had been so stampeded by the disastrous unveil
ing that I had had little chance to see it and I thought it looked a lot better in the garden than it had done in Vermilion Sands, the chromium struts and abstract shapes standing out against the desert like something in a vodka advertisement. After a few days I could almost ignore it.

  A week or so later we were out on the terrace after lunch, lounging back in the deck chairs. I was nearly asleep when Carol said, ‘Mr Hamilton, I think it’s moving.’

  ‘What’s moving?’

  Carol was sitting up, head cocked to one side. ‘The statue. It looks different.’

  I focused my eyes on the statue twenty feet away. The radiator grille at the top had canted around slightly but the three stems still seemed more or less upright.

  ‘The rain last night must have softened the ground,’ I said. I listened to the quiet melodies carried on the warm eddies of air, and then lay back drowsily. I heard Carol light a cigarette with four matches and walk across the veranda.

  When I woke in an hour’s time she was sitting straight up in the deck chair, a frown creasing her forehead.

  ‘Swallowed a bee?’ I asked. ‘You look worried.’

  Then something caught my eye.

  I watched the statue for a moment. ‘You’re right. It is moving.’

  Carol nodded. The statue’s shape had altered perceptibly. The grille had spread into an open gondola whose sonic cores seemed to feel at the sky, and the three stem-pieces were wider apart. All the angles seemed different.

  ‘I thought you’d notice it eventually,’ Carol said as we walked over to it. ‘What’s it made of?’

  ‘Wrought iron – I think. There must be a lot of copper or lead in it. The heat is making it sag.’

  ‘Then why is it sagging upwards instead of down?’

  I touched one of the shoulder struts. It was springing elastically as the air moved across the vanes and went on vibrating against my palm. I gripped it in both hands and tried to keep it rigid. A low but discernible pulse pumped steadily against me.

  I backed away from it, wiping the flaking chrome off my hands. The Mozartian harmonies had gone, and the statue was now producing a series of low Mahler-like chords. As Carol stood there in her bare feet I remembered that the height specification we had given to Lorraine Drexel had been exactly two metres. But the statue was a good three feet higher than Carol, the gondola at least six or seven across. The spars and struts looked thicker and stronger.

  ‘Carol,’ I said. ‘Get me a file, would you? There are some in the garage.’

  She came back with two files and a hacksaw.

  ‘Are you going to cut it down?’ she asked hopefully.

  ‘Darling, this is an original Drexel.’ I took one of the files. ‘I just want to convince myself that I’m going insane.’

  I started cutting a series of small notches all over the statue, making sure they were exactly the width of the file apart. The metal was soft and worked easily; on the surface there was a lot of rust but underneath it had a bright sappy glint.

  ‘All right,’ I said when I had finished. ‘Let’s go and have a drink.’

  We sat on the veranda and waited. I fixed my eyes on the statue and could have sworn that it didn’t move. But when we went back an hour later the gondola had swung right round again, hanging down over us like an immense metal mouth.

  There was no need to check the notch intervals against the file. They were all at least double the original distance apart.

  ‘Mr Hamilton,’ Carol said. ‘Look at this.’

  She pointed to one of the spikes. Poking through the outer scale of chrome were a series of sharp little nipples. One or two were already beginning to hollow themselves. Unmistakably they were incipient sonic cores.

  Carefully I examined the rest of the statue. All over it new shoots of metal were coming through: arches, barbs, sharp double helixes, twisting the original statue into a thicker and more elaborate construction. A medley of half-familiar sounds, fragments of a dozen overtures and symphonies, murmured all over it. The statue was well over twelve feet high. I felt one of the heavy struts and the pulse was stronger, beating steadily through the metal, as if it was thrusting itself on to the sound of its own music.

  Carol was watching me with a pinched and worried look.

  ‘Take it easy,’ I said. ‘It’s only growing.’

  We went back to the veranda and watched.

  By six o’clock that evening it was the size of a small tree. A spirited simultaneous rendering of Brahms’s Academic Festival Overture and Rachmaninov’s First Piano Concerto trumpeted across the garden.

  ‘The strangest thing about it,’ Raymond said the next morning, raising his

  voice above the din, ‘is that it’s still a Drexel.’

  ‘Still a piece of sculpture, you mean?’

  ‘More than that. Take any section of it and you’ll find the original motifs being repeated. Each vane, each helix has all the authentic Drexel mannerisms, almost as if she herself were shaping it. Admittedly, this penchant for the late Romantic composers is a little out of keeping with all that sitar twanging, but that’s rather a good thing, if you ask me. You can probably expect to hear some Beethoven any moment now – the Pastoral Symphony, I would guess.’

  ‘Not to mention all five piano concertos – played at once,’ I said sourly. Raymond’s loquacious delight in this musical monster out in the garden annoyed me. I closed the veranda windows, wishing that he himself had installed the statue in the living room of his downtown apartment. ‘I take it that it won’t go on growing for ever?’

  Carol handed Raymond another scotch. ‘What do you think we ought to do?’

  Raymond shrugged. ‘Why worry?’ he said airily. ‘When it starts tearing the house down cut it back. Thank God we had it dismantled. If this had happened in Vermilion Sands . . .’

  Carol touched my arm. ‘Mr Hamilton, perhaps that’s what Lorraine Drexel expected. She wanted it to start spreading all over the town, the music driving everyone crazy –’

  ‘Careful,’ I warned her. ‘You’re running away with yourself. As Raymond says, we can chop it up any time we want to and melt the whole thing down.’

  ‘Why don’t you, then?’

  ‘I want to see how far it’ll go,’ I said. In fact my motives were more mixed. Clearly, before she left, Lorraine Drexel had set some perverse jinx at work within the statue, a bizarre revenge on us all for deriding her handiwork. As Raymond had said, the present babel of symphonic music had no connection with the melancholy cries the statue had first emitted. Had those forlorn chords been intended to be a requiem for her dead lover – or even, conceivably, the beckoning calls of a still unsurrendered heart? Whatever her motives, they had now vanished into this strange travesty lying across my garden.

  I watched the statue reaching slowly across the lawn. It had collapsed under its own weight and lay on its side in a huge angular spiral, twenty feet long and about fifteen feet high, like the skeleton of a futuristic whale. Fragments of the Nutcracker Suite and Mendelssohn’s ‘Italian’ Symphony sounded from it, overlaid by sudden blaring excerpts from the closing movements of Grieg’s Piano Concerto. The selection of these hack classics seemed deliberately designed to get on my nerves.

  I had been up with the statue most of the night. After Carol went to bed I drove my car on to the strip of lawn next to the house and turned on the headlamps. The statue stood out almost luminously in the darkness, booming away to itself, more and more of the sonic cores budding out in the yellow glare of the lights. Gradually it lost its original shape; the toothed grille enveloped itself and then put out new struts and barbs that spiralled upwards, each throwing off secondary and tertiary shoots in its turn. Shortly after midnight it began to lean and then suddenly toppled over.

  By now its movement was corkscrew. The plinth had been carried into the air and hung somewhere in the middle of the tangle, revolving slowly, and the main foci of activity were at either end. The growth rate was accelerating. We watched a new shoot emerge. A
s one of the struts curved round a small knob poked through the flaking chrome. Within a minute it grew into a spur an inch long, thickened, began to curve and five minutes later had developed into a full-throated sonic core twelve inches long.

  Raymond pointed to two of my neighbours standing on the roofs of their houses a hundred yards away, alerted by the music carried across to them. ‘You’ll soon have everyone in Vermilion Sands out here. If I were you, I’d throw an acoustic drape over it.’

  ‘If I could find one the size of a tennis court. It’s time we did something, anyway. See if you can trace Lorraine Drexel. I’m going to find out what makes this statue go.’

  Using the hacksaw, I cut off a two-foot limb and handed it to Dr Blackett, an eccentric but amiable neighbour who sometimes dabbled in sculpture himself. We walked back to the comparative quiet of the veranda. The single sonic core emitted a few random notes, fragments from a quartet by Webern.

  ‘What do you make of it?’

  ‘Remarkable,’ Blackett said. He bent the bar between his hands. ‘Almost plastic.’ He looked back at the statue. ‘Definite circumnutation there. Probably phototropic as well. Hmm, almost like a plant.’

  ‘Is it alive?’

  Blackett laughed. ‘My dear Hamilton, of course not. How can it be?’

  ‘Well, where is it getting its new material? From the ground?’

  ‘From the air. I don’t know yet, but I imagine it’s rapidly synthesizing an allotropic form of ferrous oxide. In other words, a purely physical rearrangement of the constituents of rust.’ Blackett stroked his heavy brush moustache and stared at the statue with a dream-like eye. ‘Musically, it’s rather curious – an appalling conglomeration of almost every bad note ever composed. Somewhere the statue must have suffered some severe sonic trauma. It’s behaving as if it had been left for a week in a railroad shunting yard. Any idea what happened?’

  ‘Not really.’ I avoided his glance as we walked back to the statue. It seemed to sense us coming and began to trumpet out the opening bars of Elgar’s ‘Pomp and Circumstance’ march. Deliberately breaking step, I said to Blackett: ‘So in fact all I have to do to silence the thing is chop it up into two-foot lengths?’