Quotes By J. G. Ballard

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

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

The Enlightenment view of mankind is a complete myth. It leads us into thinking we're sane and rational creatures most of the time, and we're not.

Any fool can write a novel but it takes real genius to sell it.

An arts degree is like a diploma in origami. And about as much use.

Electronic aids, particularly domestic computers, will help the inner migration, the opting out of reality. Reality is no longer going to be the stuff out there, but the stuff inside your head. It's going to be commercial and nasty at the same time.

The entertainment medium of film is particularly tuned to the present imaginations of people at large. A lot of fiction is intensely nostalgic.

The future is going to be boring. The suburbanisation of the planet will continue, and the suburbanisation of the soul will follow soon after.

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

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.

It's true that I have very little idea what I shall be writing next, but at the same time I have a powerful premonition of everything that lies ahead of me, even ten years ahead.

Medicine was certainly intended to be a career. I wanted to become a psychiatrist, an adolescent ambition which, of course, is fulfilled by many psychiatrists.

The American Dream has run out of gas. The car has stopped. It no longer supplies the world with its images, its dreams, its fantasies. No more. It's over. It supplies the world with its nightmares now: the Kennedy assassination, Watergate, Vietnam.

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.

I came to live in Shepperton in 1960. I thought: the future isn't in the metropolitan areas of London. I want to go out to the new suburbs, near the film studios. This was the England I wanted to write about, because this was the new world that was emerging.

Science and technology multiply around us. To an increasing extent they dictate the languages in which we speak and think. Either we use those languages, or we remain mute.

Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.

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.

If you're against globalisation, it doesn't achieve much by sort of bombing the head offices of Shell or Nestle. You unsettle people much more by blowing up an Oxfam shop because people can't understand the motive.

I suspect that many of the great cultural shifts that prepare the way for political change are largely aesthetic. A Buick radiator grille is as much a political statement as a Rolls Royce radiator grille, one enshrining a machine aesthetic driven by a populist optimism, the other enshrining a hierarchical and exclusive social order.

Yes, sometimes I think that all my writing is nothing more than the compensatory work of a frustrated painter.

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.