J. G. Ballard

In a completely sane world, madness is the only freedom.

I believe that if it were possible to scrap the whole of existing literature, all writers would find themselves inevitably producing something very close to SF ... No other form of fiction has the vocabulary of ideas and images to deal with the present, let alone the future.

When the modern movement began, starting perhaps with the paintings of Manet and the poetry of Baudelaire and Rimbaud, what distinguished the modern movement was the enormous honesty that writers, painters and playwrights displayed about themselves. The bourgeois novel flinches from such notions.

Boredom is a fearsome prospect. There's a limit to the number of cars and microwaves you can buy. What do you do then?

There are signs, I think, that people aren't satisfied by consumerism: that people resent the fact that the most moral decision in their lives is choosing what colour their next car will be.

I felt the pressure of imagination against the doors of my mind was so great that they were going to burst.

I don't think it's possible to touch people's imagination today by aesthetic means.

I take for granted that for the imaginative writer, the exercise of the imagination is part of the basic process of coping with reality, just as actors need to act all the time to make up for some deficiency in their sense of themselves.

There's a logic today that places a greater value on celebrity the less it is accompanied by actual achievement. I don't think it's possible to touch people's imagination today by aesthetic means.

I would sum up my fear about the future in one word: boring. And that's my one fear: that everything has happened; nothing exciting or new or interesting is ever going to happen again... the future is just going to be a vast, conforming suburb of the soul.

What our children have to fear is not the cars on the highways of tomorrow but our own pleasure in calculating the most elegant parameters of their deaths.

I was in Shanghai when the Japanese invaded China. I was there in Shanghai when, the morning after Pearl Harbor, they seized Shanghai.

The chief role of the universities is to prolong adolescence into middle age, at which point early retirement ensures that we lack the means or the will to enforce significant change.

People think that by living on some mountainside in a tent and being frozen to death by freezing rain, they're somehow discovering reality, but of course that's just another fiction dreamed up by a TV producer.

In March 1943, my parents, four-year-old sister and I were interned with other foreign civilians at Lunghua camp, a former teacher training college outside Shanghai, where we remained until the end of August 1945.

Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.

The surrealists, and the modern movement in painting as a whole, seemed to offer a key to the strange postwar world with its threat of nuclear war. The dislocations and ambiguities, in cubism and abstract art as well as the surrealists, reminded me of my childhood in Shanghai.

Writing a novel is one of those modern rites of passage, I think, that lead us from an innocent world of contentment, drunkenness, and good humor, to a state of chronic edginess and the perpetual scanning of bank statements.