Weird and mesmerizingly grotesque, The Drought tells the chilling story of the world on the brink of extinction, where a global drought, brought on by industrial waste, has left mankind in a life-or-death search for water. Violence erupts and insanity reigns as the human race struggles for survival in a worldwide desert of despair.

A New York Times Book Review Editors’ Choice Selection A Kirkus Reviews Best Book of the Year (Fiction) “J.G. Ballard is the undisputed laureate of suburban psychosis.... A brilliant novel.” —Literary Review A violent novel filled with insidious twists, Kingdom Come follows the exploits of Richard Pearson, a rebellious, unemployed advertising executive, whose father is gunned down by a deranged mental patient in a vast shopping mall outside Heathrow Airport. When the prime suspect is released without charge, Richard’s suspicions are aroused. Investigating the mystery, Richard uncovers at the Metro-Centre mall a neo-fascist world whose charismatic spokesperson is whipping up the masses into a state of unsustainable frenzy. Riots frequently terrorize the complex, immigrant communities are attacked by hooligans, and sports events mushroom into jingoistic political rallies. In this gripping, dystopian tour de force, J.G. Ballard holds up a mirror to suburban mind rot, revealing the darker forces at work beneath the gloss of consumerism and flag-waving patriotism.

'Miracles of Life' opens and closes in Shanghai, the city where J.G. Ballard was born, and where he spent most of the Second World War interned with his family in a Japanese concentration camp.

In contrast to Ballard's earlier novel The Drowned World, The Burning World describes a world in which water is scarce. After an extensive drought, rivers have turned to trickles and the earth to dust, causing the world's populations to head toward the oceans in search of water. The drought is caused by industrial waste flushed into the ocean, which form an oxygen-permeable barrier of saturated long-chain polymers that prevents evaporation and destroys the precipitation cycle. Since the novel was published, neustonic plastic islands covering measurable percentages of the Pacific Ocean have been discovered.

“Dream Cargoes” is narrated in the third person, for the most part through the consciousness of a simple young sailor named Johnson. The story takes place over a period of six months but is presented in brief episodes, with flashbacks supplying details necessary to explain Johnson's peculiar situation and the anomalous condition of the island on which he is marooned. The story opens one morning with a description of the fantastic plant life enveloping a Caribbean island. Beholding the spectacle is a sailor named Johnson aboard the beached freighter...

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.

J. G. Ballard was, for over fifty years, one of this country's most significant writers. Beginning with the events that inspired his classic novel, 'Empire of the Sun', this revelatory autobiography charts the course of his astonishing life. 'Miracles of Life' takes us from the vibrant surroundings of pre-war Shanghai, to the deprivations and unexpected freedoms of Lunghua Camp, to Ballard's arrival in a devastated Britain. Ballard recounts his first attempts at fiction and his part in the social and artistic revolutions of the 60s. He describes his friendships with figures as diverse as Kingsley Amis, Michael Moorcock and Eduardo Paolozzi alongside recollections of his domestic life in Shepperton -- raising three children as a single father following the unexpected and premature death of his wife. 'Miracles of Life' is both a captivating narrative of the experiences that have shaped this extraordinary writer's works, his distinctive...

This story tells of a form of art in which sculptors use gliders and chemicals to form clouds into shapes, including the face of a woman who hires them.

There’s something wrong with Estrella Del Mar, the lazy, sun-drenched retirement haven on Spain’s Costa Del Sol. Lately this sleepy hamlet, home to hordes of well-heeled, well-fattened British and French expatriates, has come alive with activity and culture; the previously passive, isolated residents have begun staging boat races, tennis competitions, revivals of Harold Pinter plays, and lavish parties. At night the once vacant streets are now teeming with activity, bars and cafes packed with revelers, the sidewalks crowded with people en route from one event to the next. Outward appearances suggest the wholesale adoption of a new ethos of high-spirited, well-controlled collective exuberance. But there’s the matter of the fire: The house and household of an aged, wealthy industrialist has gone up in flames, claiming five lives, while virtually the entire town stood and watched. There’s the matter of the petty crime, the burglaries, muggings, and auto thefts which have begun to nibble away at the edges of Estrella Del Mar’s security despite the guardhouses and surveillance cameras. There’s the matter of the new, flourishing trade in drugs and pornography. And there’s the matter of Frank Prentice, who sits in Marbella jail awaiting trial for arson and five counts of murder, and who, despite being clearly innocent, has happily confessed. It is up to Charles Prentice, Frank’s brother, to peel away the onionlike layers of denial and deceit which hide the rather ugly truth about this seaside idyll, its residents, and the horrific crime which brought him here. But as is usually the case in a J.G. Ballard book, the truth comes with a price tag attached, and likely without any easing of discomfort for his principal characters. Cocaine Nights marks a partial return on Ballard’s part to the provocative, highly-successful mid-career methodology employed in novels such as Crash and High Rise: after establishing himself as a science fiction guru in the 1960s, Ballard stylistically shifted gears towards an unnerving, futuristic variant on social realism in the 1970s. Both Crash and High Rise were what-if novels, posing questions as to what the likely results would be if our collective fascination with such things as speed, violence, status, power, and sex were carried just a little bit further: How insane, how brutal could our world become if we really cut loose? Cocaine Nights asks a question better suited to the ’90s, the age of gated communities and infrared home security systems: Does absolute security guarantee isolation and cultural death? Conversely, is a measure of crime an essential ingredient in a vibrant, living, properly functioning social system? Is it true, as a character asserts, that “Crime and creativity go together, always have done,” and that “total security is a disease of deprivation”? Suffice to say that the answers presented in Nights will be anathema to moral absolutists; the world of Ballard’s fiction, like life in the hyperkinetic, relativistic 1990s, abounds with uncomfortable grey areas. On the surface, Cocaine Nights is a whodunit and a race against time, but as it proceeds – and as preconceived conceptions of good and evil begin to dissolve – it evolves into a thoughtful, faintly frightening look at under-examined aspects of 1990s western society. As is his wont, Ballard confronts his readers with some faintly outlandish hypotheses unlikely to be embraced by many, but which nonetheless serve to provoke both thought and a bit of paranoia; it’s a method that Ballard has developed and refined on his own, and as usual, it propels his novel along marvellously. Cocaine Nights doesn’t have either the broad sweep or brute impact of the landmark Crash, but it retains enough social relevance and low-key creepiness to more than satisfy Ballardphiles. As is often the case in Ballard’s alternate reality, it’s a given that his most appealing, human characters turn out to be the most twisted, and that even the most normal of events turn out to be governed by a perverse, malformed logic; that this logic turns out to be grounded in sound sociological and psychological principles is its most horrific feature. David B. Livingstone