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A review by tankie_girl_boy
High-Rise by J.G. Ballard
challenging
dark
fast-paced
JG Ballard is one of those authors that circled on the periphery of recommended lists for books I like, but whose critical 1960s and 70s work I'd never read and so when my selection for book club came up, I decided to rectify this gap and dig in to the architectural fantasies of brutal violence of High Rise. Even though I have my critiques, I'm glad I did, the over the top to the point of it being funny shock violence combined with the sharp observation that this tendency to brutality lurks 2cm under the skin of the genteel bourgeiosie make it worth the short and quickly paced descent.
I actually thought there would be more in this book about the way the design of the building launches the intra-upper middle class class war but Ballard keeps this bubling away in the background only letting it buble up through Anthony Royal's narration and the occasional aside by the others. This feels somewhat unsatisfying but I don't use that as an insult, there could be some comfort to seek in letting the engineering overdominate the causality of violence that Ballard does not allow you.
His use of sexual violence in the book is somewhat suspect, not in an of itself but in the other brutalities he strays away from or leaves to implication, especially considering the lack of access we are given to the internal lives of the women in the book that are afforded to the men commiting this sexual violence. This is not to suggest that sexual violence is off limits or that it would not be a feature in the internal logic of the work, but it seems to me that same sex sexual violence and canibalism would also fit this internal logic and the latter is only hinted at and the former glares as an omission.
Of the three narrators, I found Wilder the most compelling and his job as a documentary film maker is part of the key to why this is. Before he starts his murder rampage odessy to the top floor, my interpretation is that his use of the camera was as a crutch that allowed him to follow his desire toward lurid violence. In The Pervert's Guide to Ideology, Zizek mentions the Catholic institution of confession being the ideological and psycological permission for one to follow their desires and I think the documentary camera is used by Wilder in the same way. This is why he is willing to discard it as he becomes fully imeshed, the crutch is no longer nessesary and also the ambiguity around Ballard's use of language with terms like him "weilding" the camera.
The dog murder in the book was a particuarly nice touch, as it reminded me of the amount of dogs you'd hear in the hallway of one of those new build "luxury" flats when I lived in one. The combined pamering and cruelty towards dogs in this bourgois context was interesting and is played to its extreme in the book with the upper floors group treating them as the lower floors treated their children before they start to eat them.
Theories of the tyranny of the crowd and mob mentality emerged out of a deep fear of the working class at the end of the 19th century so it was interesting to lay these dynamics on the class that came up with the idea rather than the class they were trying to describe.
I reccomend this book, it was interesting and harsh in the way such a book as this should be.
I actually thought there would be more in this book about the way the design of the building launches the intra-upper middle class class war but Ballard keeps this bubling away in the background only letting it buble up through Anthony Royal's narration and the occasional aside by the others. This feels somewhat unsatisfying but I don't use that as an insult, there could be some comfort to seek in letting the engineering overdominate the causality of violence that Ballard does not allow you.
His use of sexual violence in the book is somewhat suspect, not in an of itself but in the other brutalities he strays away from or leaves to implication, especially considering the lack of access we are given to the internal lives of the women in the book that are afforded to the men commiting this sexual violence. This is not to suggest that sexual violence is off limits or that it would not be a feature in the internal logic of the work, but it seems to me that same sex sexual violence and canibalism would also fit this internal logic and the latter is only hinted at and the former glares as an omission.
Of the three narrators, I found Wilder the most compelling and his job as a documentary film maker is part of the key to why this is. Before he starts his murder rampage odessy to the top floor, my interpretation is that his use of the camera was as a crutch that allowed him to follow his desire toward lurid violence. In The Pervert's Guide to Ideology, Zizek mentions the Catholic institution of confession being the ideological and psycological permission for one to follow their desires and I think the documentary camera is used by Wilder in the same way. This is why he is willing to discard it as he becomes fully imeshed, the crutch is no longer nessesary and also the ambiguity around Ballard's use of language with terms like him "weilding" the camera.
The dog murder in the book was a particuarly nice touch, as it reminded me of the amount of dogs you'd hear in the hallway of one of those new build "luxury" flats when I lived in one. The combined pamering and cruelty towards dogs in this bourgois context was interesting and is played to its extreme in the book with the upper floors group treating them as the lower floors treated their children before they start to eat them.
Theories of the tyranny of the crowd and mob mentality emerged out of a deep fear of the working class at the end of the 19th century so it was interesting to lay these dynamics on the class that came up with the idea rather than the class they were trying to describe.
I reccomend this book, it was interesting and harsh in the way such a book as this should be.
Content Warnings
Graphic: Animal cruelty and Sexual violence