The Atrocity Exhibition, Revised Edition (Re-Search Series) [Paperback]

J. G. Ballard (Author), Vale Vale (Editor), Phoebe Gloeckner (Illustrator), Anna Barrado (Illustrator), William S. Burroughs (Preface)

Book Description

Publication Date: July 1990

First published in 1970 and widely regarded as a prophetic masterpiece, this is a groundbreaking experimental novel by the acclaimed author of 'Crash' and 'Super-Cannes', who has supplied explanatory notes for this new edition. The irrational, all-pervading violence of the modern world is the subject of this extraordinary tour de force. The central character's dreams are haunted by images of John F. Kennedy and Marilyn Monroe, dead astronauts and car-crash victims as he traverses the screaming wastes of nervous breakdown. Seeking his sanity, he casts himself in a number of roles: H-bomber pilot, presidential assassin, crash victim, pscyhopath. Finally, through the black, perverse magic of violence he transcends his psychic turmoils to find the key to a bizarre new sexuality.

--This text refers to an out of print or unavailable edition of this title.

Editorial Reviews

Amazon.com Review

Easily one of the 20th century's most visionary writers, J. G. Ballard still lives far ahead of his time. Called his "prophetic masterpiece" by many, The Atrocity Exhibition practically lies outside of any literary tradition. Part science fiction, part eerie historical fiction, part pornography, its characters adhere to no rules of linearity or stability. This reissued edition features an introduction by William S. Burroughs, extensive text commentary by Ballard, and four additional stories. Of specific interest are the illustrations by underground cartoonist and professional medical illustrator Phoebe Gloeckner. Her ultrarealistic images of eroticism and destruction add an important dimension to Ballard's text.

Review

'I would argue that "The Atrocity Exhibition" represents the zenith of the experimental novel in English. But Ballard's marginalia are a tour de force, a wholly original work in their own right. One can hear Ballard's voice as he offers a surreal evening class on his own work, life and preoccupations. This one is a must.' Will Self, Time Out 'Brilliant and unnerving!a writer with talent to burn.' The Times 'These stories -- "condensed novels", Ballard has called them -- are a high-water mark in English experimental fiction.' New York TImes --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Paperback: 127 pages
• Publisher: Re/Search Publications; Revised edition (July 1990)
• Language: English
• ISBN-10: 0940642182
• ISBN-13: 978-0940642188
• Product Dimensions: 10.9 x 8.3 x 0.4 inches
• Shipping Weight: 1.2 pounds
• Average Customer Review: 4.2 out of 5 stars  See all reviews (31 customer reviews)
• Amazon Best Sellers Rank: #1,196,571 in Books (See Top 100 in Books)

More About the Author

Born in Shanghai in 1930, J. G. BALLARD is the author of sixteen novels, including "Empire of the Sun," "The Drowned World," and "Crash." He lived in London until his death in April 2009.

Customer Reviews

Most Helpful Customer Reviews

17 of 18 people found the following review helpful:

5.0 out of 5 stars Atrocity Exhibition: The Motherload of Ballard's Darker Vein, February 14, 1997

By A Customer

This review is from: The Atrocity Exhibition, Revised Edition (Re-Search Series) (Paperback)

I could easily title this review The Patients are Running the Asylum (and Isn't It Wonderful), but you'll have to read The Atrocity Exhibition to find out why....

This strangely elegant work seems to be the nexus of Ballard's 'Concrete Trilogy' (formed by Crash, Concrete Island, and High Rise) . These other works are crisper with straight ahead, if fantastic, plots and a tight focus on their subject matter. Atrocity Exhibition is where Ballard fuses everything from this period of his writing. Sex and Speed collide with Isolation and Arhitecture to create a narrative seemingly out of control, but with its own dream logic.

Small, usually paragraph-sized, snap shots follow hard on one another in this artfully crafted non-linear tale. It's also decidely fast paced. Imagine someone resurrecting Max Ernest to direct a Hong Kong-style thriller. The reader zips along in divine confusion as characters that we think we understand seem to drift from there moorings into an increasingly abstract landscape. And its hard to tell if we are looking at decay or evolution.

For that matter opposites are played against one another throughout. We are left to balance discourses on Freud and Jung with chapter titles like 'Why I Want to Fuck Ronald Reagan' and 'The Assassination of John F. Kennedy Considered as a Downhill Road Race'. In true Dadaist style Ballard pushes our preconceptions of high and low art with this kind of play.

The greatest delight of Atrocity Exhibition is how hard the reader has to work to keep up. Just when you think you've figured out what this tale is about, you realize that you've only reached the foothills of another steep learning curve. But don't worry, the wonder, the strangeness, and the perversity will keep you coming for more. The mind's natural desire to create narrative is thwarted again and again to be rewarded with something deeper and more profound, but almost indescribable.

Full of strange intertextual references and images this book is still years ahead of its time. It's also not without it's own deadpan humor. At one point we see a full scale replicable of Keinholz's sculpture 'Dodge '57' (which consists of the back end of a '57 and the legs of a couple making out) zooming down the highway. Ballard also weaves in his obsession with the Space Program. Even though the manned interstellar missions are over for now, we've only begun to explore the space these travels have opened up in our minds. Atrocity Exhibition, written in the late '60s, places Ballard firmly in the vanguard of those exploring the fertile space between machine and mythology.

This work is by a master of the surrealistic at the height of his powers. The next time you hear someone carping about the impossiblity of interactivity in art, just smack 'em in the side of the head with a copy of The Atrocity Exhibition.

9 of 9 people found the following review helpful:

5.0 out of 5 stars Ballard's best - sex, psychopathology and sacred geometry!, June 20, 1996

By A Customer

This review is from: The Atrocity Exhibition, Revised Edition (Re-Search Series) (Paperback)

Interest in Ballard's work is sure to be stirred by the controversial film of his novel, "Crash." "The Atrocity Exhibition" shares many of the same characters and themes. In fact, of the two works, "Atrocity Exhibition" is the better: it pushes the artistic conventions of fiction to the limits to explore the degenerating mental landscape of the protagonist. Against a nightmarish postmodern background of unethical psychological experiments gone awry and obsession with media icons, even questions of simple identity become impossible to unravel. Travis/Travers/Traven/Talbot is pushed to madness and perhaps even murder - one character seems to die in four seperate scenes! - by his co-workers, fellow psychiatrists at a teaching hospital. Modern architecture becomes confused with perverted sexuality as the protagonist projects his fantasies of Elizabeth Taylor onto high rise apartment buildings. This edition is a gem. It contains four additional Ballard stories, a preface by William S. Burroughs, and deranged illustrations by Phoebe Gloeckner who juxtaposes her world- renowned medical illustrations with images of disturbing eroticism and mechanization. Provocative, exhilarating and terrifying, Ballard sucks the reader into the psychosis of his characters. This work is Ballard's literary masterpiece. After reading it, the world seems a much scarier place.

14 of 16 people found the following review helpful:

5.0 out of 5 stars The Angle Between Two Thoughts, February 1, 2001

By 

Kenneth Burstall "thatwhichfalls" (Houston, TX USA) - See all my reviews
(REAL NAME)   

This review is from: The Atrocity Exhibition (Paperback)

The short stories (or "condensed novels" as Ballard refers to them) that comprise this astonishing novel can be taken as a series of snapshots of a man in the still centre of a catastrophic psychological breakdown.

The almost static nature of large parts of the book (intensified by sterile settings such as hotel rooms, institutional buildings, multilane highways - in short transitional places with no value other than their ability to lead elsewhere) are due to the main character having lost any awareness of the passage of time.

He has been hollowed out by his mental crash and has filled that emptiness with a timeless and undiscriminating apprehension of everything around him - and this is where the danger of the book comes from. Where, Ballard asks, would someone who saw the world as a series of discrete and unconnected things (and this, perhaps, is where those obsessive lists that intersperse the book come from) start to assign priorities among those things, to start re-building some coherent picture of this chaos of images.

The answer is that Travis (or Traven or Tallis or whoever it is behind the masks the "hero" manufactures) takes the most powerful images he finds as the basis of his new world - and according to Ballard those would be of sex, violence and celebrity.

And so T**** wanders through a empty world watched over by the vast, indifferent and no longer even vaguely human images of fame, finding as much to be aroused by in the gentle but swift rippling of the bodies of two colliding cars as in the complexly intersecting forms of two human bodies.

And yet this flattened affective landscape acquires a topography as T**** learns to, firstly, simply accept this world and then to rejoice in the strange freedom it gives him.

Ballard is often accused of being amoral, and this is perhaps not unfair, but he might retort that he is actually more moral than his critics. He sees a world which has been altered by human perception of it so profoundly that our choice is to either accept those chances, or be swept under piles of a sand that, on microscopic examination, is made up of countless millions of identical pictures of Marilyn Monroe.