Arguably: Selected Essays (58 page)
Another early story (though not represented here: The claim of this volume to be “complete” is somewhat deceptive) in something of the same style, “Plan for the Assassination of Jacqueline Kennedy,” ignited a ridiculous fuss in the very news rags whose ghoulish coverage of her life Ballard was intending to satirize. Randolph Churchill led the charge, demanding punishment for the tiny magazine that printed it. This “modest proposal” furnishes one of many clues to a spring of Ballard’s inspiration, which is fairly obviously the work of Jonathan Swift. In 1964 he even wrote an ultra-macabre story, “The Drowned Giant,” which tells of what happens when the corpse of a beautiful but gigantic man washes ashore on a beach “five miles to the northwest of the city.” The local Lilliputians find cheap but inventive ways of desecrating and disfiguring the body before cutting it up for souvenirs and finally rendering it down in big vats. One might characterize this as the microcosmically ideal Ballard fantasy, in that it partakes of the surreal—the “Gulliver” being represented as a huge flesh statue based on the work of Praxiteles—as well as of the Freudian: “as if the mutilation of this motionless colossus had released a sudden flood of repressed spite.” In the pattern of many other stories, the narrator adopts the tone of a pathologist dictating a detached report of gross anatomy. A single phrase,
colossal wreck
, is a borrowing from Shelley’s “Ozymandias,” which may be the closest that Ballard ever came to a concession to the Romantic school.
Another and nearer literary source is provided by the name—Traven—of the solitary character in “The Terminal Beach.” This is one of two tales—the other being “One Afternoon at Utah Beach”—in which Ballard makes an imaginarium out of the ruined scapes of the Second World War. Like his modern but vacant cities full of ghostly tower blocks (he is obsessed with towers of all sorts) and abandoned swimming pools, the Pacific and Atlantic beaches, still covered by concrete blocks and bunkers, furnish the ideal setting for a Ballardian wasteland. The beach in the first story has the additional advantage of having been the site of an annihilating nuclear test. The revenant shapes of long-dead Japanese and Germans are allowed a pitiless flicker before their extinction.
Ballard is not the most quotable of authors, because he takes quite a long time to set a scene and because his use of dialogue is more efficient than it is anything else. But he can produce arresting phrases and images. He is especially observant about eyes. On succeeding pages of “The Cloud-Sculptors of Coral D,” we find that “memories, caravels without sails, crossed the shadowy deserts of her burned-out eyes” and that the dwarf, Petit Manuel, regards this same woman “with eyes like crushed flowers.” This entire story is infused with an eerie beauty, as the wings of gliders carve marvels out of the cumulus, and one aesthetic pilot “soared around the cloud, cutting away its tissues. The soft fleece fell toward us in a cool rain.” The cruel capricious beauty who becomes the wealthy patron of this art is careless of the human cost it may entail: “In her face the diagram of bones formed a geometry of murder.”
Ballard wrote his heart out, especially after the random death of his beloved wife left him to raise three children, so I don’t especially like to say that he wrote too much. (This book has almost 1,200 pages.) But some of the stories are in want of polish and finish. In “The Last World of Mr. Goddard,” a department-store supervisor keeps a microcosm of his town, complete with live-action human figures, in a box in his safe at home. Each evening, he can watch what everybody is doing and use the knowledge the next day. At first I was surprised that he never exploited this advantage to observe anybody having sex, and then I noticed that Ballard had oddly deprived his minutely supervised miniatures of the power to be overheard, so that Mr. Goddard actually had no idea what was going on. Like a movie that is only part talkie, this scenario is leached of its initial power. In compensation, several of the stories are pure
jeu d’esprit
, where the charm of the conceit hardly requires any suggestion of the sinister or the doomed. Despite the menacing title of “Prima Belladonna,” the first of the collection, one is immediately bewitched by the very idea of a flower shop where the gorgeously different blooms are all live stand-ins for musicians and opera singers (such as a “delicate soprano mimosa”) and where the owner of this hard-to-manage “chloro florist” establishment eventually confronts “an audio-vegetative armageddon.”
If this innocuous environment could not deflect Ballard from his insistence on apocalypse in familiar surroundings, it is hardly startling to find that his penultimate tale is titled “The Secret Autobiography of J. G. B.” For most of his life, our great specialist in catastrophe made his home in the almost laughably tranquil London suburb of Shepperton, the sheltered home of the British movie studios. He obviously relished the idea of waking one day to find himself the only human being on the planet, to explore a deserted London and cross a traffic-free Thames, to pillage gas stations and supermarkets and then to drive contentedly home. “B was ready to begin his true work.”
(
The Atlantic
, January/February 2010)
Fraser’s Flashman:
Scoundrel Time
I
N THE LAST but one of his twelve novelistic gallops through history and imagination,
Flashman and the Tiger
, George MacDonald Fraser does something at least as daring as anything that his poltroonish hero has ever ventured. He inserts his main character smack-dab into the middle of a failed assassination attempt. Colonel John Sebastian Moran, a pitiless killer and big-game hunter, is drawing a bead from a window in London at a silhouette across the ghostly street. And just as old Flashy is drawing his own bead on Moran, there is a wild commotion when an austere, gaunt private detective, a bluff old physician, and a squad of bobbies come piling into the room.
Some of you will have seen this coming: It is the climactic moment of “The Adventure of the Empty House,” the momentous story in which Sir Arthur Conan Doyle recalled Sherlock Holmes from the dead and then saved him from the bullet of Professor Moriarty’s vile associate. In other words, Fraser has succeeded not just in making his creation the familiar Zelig of high-Victorian imperial history, but in giving him a cameo part in late-Victorian fiction as well. Flashman is everywhere. And why should this not be so? Tourists visit Baker Street every day to see where Sherlock Holmes “actually” lived and pondered, shooting cocaine and sharing rooms with a chap. (That was in 221B, which never existed.) George MacDonald Fraser has never claimed to be anything but the editor of the “Flashman papers,” discovered by luck during an auction at an English country house. When the first “packet” of papers was published, in 1969, several well-gulled reviewers genuinely hailed it as a grand literary discovery (one of them going as far as to say that there had been nothing like it since the unearthing of Boswell’s diaries). It is the deftest borrowing since Tom Stoppard helped himself to the walk-on parts of Rosencrantz and Guildenstern.
George MacDonald Fraser was eighty on his last birthday (“same day as Charlemagne, Casanova, Hans Christian Andersen, and Kenneth Tynan,” as he tells me) and is celebrating the publication of a round dozen of edited Flashman papers. I dip my colors in a solemn salute. It makes me whistle when I think how I grabbed the first of his published efforts right off the bat in 1969. Even now I can tell a fellow addict at ten paces. Those of us who have tried to cover the new “Great Game” as it has unfolded on the Pakistan-Afghanistan border have forgathered in Flashman’s Hotel, situated in the Pakistani Army’s post-colonial garrison town of Rawalpindi, and in the Flashman Restaurant of the Gandamack Lodge, in Kabul (Gandamack Lodge being old Flashy’s ill-gotten mansion in rural Leicestershire). These are places where the borders are “porous,” as the newspapers like to say, but where the boundary between fact and fiction is the most porous of all. It is Fraser’s huge achievement to have smuggled his main man across that frontier, in both directions.
Victorian empire (“the greatest thing that ever happened to an undeserving world,” Fraser asserts) was largely dedicated to Lord Macaulay’s belief in progress and improvement: a civilizing mission that would gradually spread light into the dark places of the earth. It involved the Whig theory of history and was supposed to operate according to a near-providential plan. Well, that’s all balls for a start, as Flashman stoutly observes: “In my experience the course of history is as often settled by someone’s having a belly-ache, or not sleeping well, or a sailor getting drunk, or some aristocratic harlot waggling her backside.”
In a way—and there’s no shame in this—Fraser works according to a formula. There is, in every Flashman story, a horrific villain, a brush with an unthinkably agonizing death, and a bodacious female. Pure Ian Fleming, you might murmur, and indeed Fraser himself was a screenwriter for
Octopussy
. Why read the James Bond series if not for the certainty of being transported into a reliable parallel universe where there is no Goldfinger without a corresponding Pussy Galore? Ah, but the men Flashman vanquishes, and the women he tumbles, are for the most part “real.” And so are the events depicted. Fleming on his best day would never have dared match James Bond with the modern equivalent of Otto von Bismarck or send him into the sack with Queen Ranavalona of Madagascar, let alone have succeeded in making it so believable that some readers still do truly believe it. (When Flashman sees Oscar Wilde at the theater, in the course of his authored but unauthorized invasion of that Sherlock Holmes story, and marvelously describes the poet of decadence as resembling “an overfed trout in a toupe,” we can hear his crusty, clubland grunt.)
But, on the other hand, James Bond did have a license to kill, and a thirst to employ it, whereas Flashman is a cowering impostor who prefers whoring and bullying to any risking of his skin on the thin red line. Thus, every novel must begin with a mise-en-scène that shows not just history as a chapter of screwups and screwings but also Flashman’s own participation as an unlucky accident. The anti-hero doesn’t begin by calling coolly on “M” to be briefed on his latest lethal assignment. He begins by running away in the wrong direction. So, to the drama of Bond, Fraser brilliantly adds the absurdity of Bertie Wooster. When Fraser first ushered his Homeric duffer onto the stage, P. G. Wodehouse was tempted into a rare comment, saying, “If ever there was a time when I felt that ‘watcher-of-the-skies-when-a-new-planet’ stuff, it was when I read the first Flashman.”
Well, just as Wodehouse could have quoted the whole of that Keats poem with ease, one imagines that Flashman (or his creator) knows better in the twelfth and latest novel,
Flashman on the March
, when he remarks that the British government is caught “between Scylla and t’other thing.” This is Wooster to the life, half remembering something from the schoolroom until corrected by Jeeves. As Bertie ruefully phrases it, never learning from his mistakes, it is just when you are stepping high and confident that Fate waits behind the door with a stuffed eelskin. And here goes old Flashy:
My spirits were rising as we set off down the bank, the birds were carolling, there was a perfumed breeze blowing from the water, we were within a few miles of journey’s end, I was absolutely humming “Drink, Puppy, Drink,” the larks and snails were no doubt on their respective wings and thorns, God was in his heaven, and on the verge of the jungle, not twenty yards away, a white-robed helmeted lancer was sitting his horse, watching us.
Or as Bertie inquires in
The Code of the Woosters
:
“But the larks, Jeeves? The snails? I’m pretty sure larks and snails entered into it.”
“I am coming to the larks and snails, sir. ‘The lark’s on the wing, the snail’s on the thorn—’ ”
“Now you’re talking. And the tab line?”
“ ‘God’s in His heaven, all’s right with the world.’ ”
“That’s it in a nutshell. I couldn’t have put it better myself.”
Instead of Aunt Agatha, Fraser has placed a sinister and armed horseman at the terminus of his idyll, but then, Raymond Chandler (an old schoolmate of Wodehouse’s at Dulwich College) made it a maxim that when action was flagging you could always have a man enter the room carrying a gun.
To say that Fraser can so easily juggle Conan Doyle and Holmes, Fleming and Bond, Wodehouse and Wooster, and Chandler and Marlowe is, I hope, to offer reasonably high praise. But just to pile on the admiration for a bit, I know some eminent historians who have pored over Fraser’s footnotes and appreciated details about, say, the Charge of the Light Brigade that are known to few. The battle scene at Balaklava is meticulously done, and if his own mad charge is started by Flashman himself, who panics his horse by farting so loudly with sheer hangover and pure fear, why then it’s hardly less of a fiasco and a shambles than the real thing turned out to be.