Reading J.G. Ballard with Deleuze and Guattari presents a fresh opportunity to revisit Ballard’s uncomfortable dystopias and reveals that the novels High-Rise and Crash are centred around the theme of ‘becoming’. In High-Rise, Ballard illustrates the mechanisms through which the subject ‘becomes-animal’, whilst in Crash Ballard presents his subjects as ‘becoming-machine’ through their voluntary participation in road traffic accidents. In addition, an analysis of both novels reveals that Ballard conceptualises’ ‘non-spaces’’ as a prerequisite for ‘becoming’  and develops a localised relationship to the ‘criminal’ and the ‘’political’. Throughout this short post, I will initially explore Ballard’s presentation of ‘non-places’ in High-Rise and Crash followed by an illustration of how the subject both ‘becomes-animal’ in High-Rise and ‘becomes-machine’ in Crash followed by a short analysis of the ‘criminal’ and ‘political’ in the novels.

The ‘non-spaces’, or hellscapes, of High-Rise and Crash irradiate hyper-modernity In Non-Places: An Introduction to Supermodernity Auge’ describes the non-place as:

“If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place” (Auge, 2008: p63)

The ‘non-place’ is an enclave that is resistant to homogenised spaces that have become increasingly prevalent in ‘hyper-modernity’. The ‘non-place’; is a location in which an alternative conception of the social can be imagined, and the subject is presented with the opportunity to ‘become-animal’ or ‘become-machine’.In High-Rise, the tower is permeated with the building blocks of a newly constructed comfortable upper-middle class residence that functioned as a “small vertical city” (H-R, 2014: p4) which “contained an impressive range of services” (ibid). The artificial design of the high-rise, ironically, creates a non-space through its psychological relationship to the tenants. The luxurious amenities available to the tenants distance them from the surrounding metropolis (London) subsequently encouraging the residents to isolate themselves within the recently constructed building: “The high-rise was a huge machine designed to serve, not the collective body of tenants, but the individual resident in isolation” (H-R, 2014: p6). As Alice Frobisher further remarks “You could be alone here, in an empty building – think of that Robert” (H-R, 2014: p5). The ‘geography’ of high-rise prevents the residents from forming meaningful social relationships that would allow them to impose a social or relational identity upon the high-rise – the high-rise is constructed as the idyllic non-place.

Crash is littered with ‘non-places’. As Duffy notes in Hidden Heterotopias in Crash, “non-places are designed as transitory and mobile” (Duffy, 2016: p115) and the ‘geographies’ of Crash are characterised by “used-car marts, water reservoirs and remand centres, surrounded by motorway systems that served London airport” (CR, 2014: p17). James Ballard, and the ensemble created by Dr Robert Vaughan exist in a state of perpetual transit from ‘non-place’ to ‘non-place’ which presents the characters with the opportunity to challenge their functions as homogenised subjects. The ensemble’s hyper-stylised fantasies reveal a series of disavowed events that disrupt the governance and regulation of the motorway “allowing for a reinvestment in space” (Duffy, 2016: p119). For example, the smooth space of the motorway presents the opportunity for James Ballard and Vaughan to circumvent the “squad of police and firemen” (CR, 2014: p125) attending to a major accident and presents Vaughan with the opportunity to memorialise his fantasy:

“His eyes were racing over the three crashed vehicles, as if he were photographing every detail with his own musculature, in the white retinas of the scars around his mouth, memorising every bent fender and broken bone in a repertory of rapid grimaces and droll expressions” (ibid)

The authorities of governance cannot regulate the crash in a ‘non-place’, it is rendered visible to the extreme fantasies of the ensemble by the smooth-space of the motorway. Crash presents James Ballard’s home as a locale in which a relationship between subject and ‘geography’ exists, “during my first days at home I spent all my time on the veranda watching the traffic move along the motorway, determined to spot the first signs of this end of the world by automobile” (CR, 2014: p37).  The ‘place’ is figuratively and metaphorically enclosed by the ‘non-place’ that forces them to challenge their own subjectivity within their home environment.  As we have observed, ‘non-places’ permeate both High-Rise and Crash, however their presentations are vastly different. In High-Rise, the ‘non-place’ is artificially constructed into the ‘geography’ of the high-rise allowing the characters to ‘become-animal’, whereas in Crash the ‘non-place’ dominates the hellscape in which the characters are permitted the opportunity to ‘become-machine’. 

For Deleuze and Guattari, to ‘become-animal’ “is to participate in movement, to stake out a path of escape in all positivity, to cross a threshold, to reach a continuum of intensities that are valuable only in themselves, to find a world of pure intensities where all forms come undone” (Deleuze and Guattari, 1986: p13). To ‘become-animal’, the subject must move from the major (the homogenised and constant) to the minor (the variable) and no longer occupy a realm of stability and identity but become imperceptibly folded into a movement whose defining characteristic is nomadism and the rhizome. 

High-Rise presents the reader with three examples of the rhizomatic nomad through the novel’s tripartite central characters – Robert Laing, Richard Wilder and Anthony Royal. Towards the conclusion of the novel, Robert Laing regresses into a state of hibernation in his 25th floor apartment behind “his dilapidated barricade” (H-R, 2014: p206) in which the previously respectable lecturer is reduced to a “tramp-like appearance” (H-R, 2014: p208). The degradation of Robert Laing’s appearance is reflected in the collapse of his previously affluent and peaceful apartment. At the outset of the novel, Laing’s apartment is portrayed as structured and arborescent – “The apartment had been expensive, its studio living-room and single bedroom, kitchen and bathroom dovetailed into each other to minimise space and eliminate internal corridors” (H-R, 2014: p5) – in which all the components form a categorised and singular organised space. At the conclusion of the novel, the apartment is both deterrotialised and unstable – “As he stood among the garbage-sacks in the kitchen, trying to coax a few drops of water from the tap, he peered over his shoulder at the dull fog that stretched across the sitting-room” (H-R, 2014: p205) – and the piles of rubbish, the dilapidated barricades and the destroyed household items used to fuel the fire through which Laing roasts their only form of sustenance, dogs, comes to resemble an arborescent, restless and insomniac ‘non-place’.As Duffy observes, ‘becoming-animal’ necessitates a movement from “organisation to anarchy” (Duffy, 2016: p504). By merely residing in his apartment, Robert Laing ‘becomes-animal’. The collapse of the abrosecent for Robert Laing is further exemplified in the reimagining of his relationship with his sister – Alice Frobisher. Initially, Ballard depicts the relationship between siblings as a molar relationship of caring. For example, Alice makes “a shrewd assessment of her brother’s needs in the months after his divorce” (H-R, 2014: p5) that requires a pre-defined and structured understanding of the extents of both their needs as individuals and nature of their relationship as siblings. However, as events unfold throughout the novel, the relationship is radically transformed to one of anarchic co-dependence:

“Alice was very much alive in other ways. Laing enjoyed her wheedling criticisms of him, as he tried to satisfy her pointless whims. All this was a game, but he relished a role of over-dutiful servant dedicated to a waspish mistress, a devoted menial whose chief satisfaction was a total lack of appreciation and the endless recitation of his faults. In many ways, in fact, his relationship with Alice recapitulated that which his wife had unthinkingly tried to create” (H-R, 2014: p210).  

Robert and Alice’s relationship evolves from the organised and molar relationship of siblings, to a quasi-incestious co-dependency that delineates both their extents as siblings and as homogenised subjects. Throughout High-Rise, Robert Laing moves from functioning as an arborescent and homogenised subject to anarchy and subsequently ‘becoming-animal’.

Richard Wilder’s function as a subject in High-Rise is thoroughly re-imagined as the course of the novel progresses. At the outset, Wilder lives a comparatively successful life as a television producer which frequently requires that he travels: “Wilder had been away on location for three days, shooting scenes for a new documentary on prison unrest” (H-R, 2014: p53). Upon returning from his frequent trips he is greeted by his wife Helen Wilder and their two young children. Prior to the breakdown of civilisation in the High-Rise, Wilder leads an aborsencent and life whose personal relationships form a series of roots that spread outwards from his 1st floor apartment. As Deleuze and Guattari note in Capitalism and Schizophrenia: A Thousand Plateaus “We should stop believing in trees, roots and radicles. They’ve made us suffer too much” (Deleuze and Guattari, 1988: p15). However, as Ballard notes, the specific geography of the Wilder’s apartment exposes to them in a more pronounced way to “the pressures generated within the building” (H-R, 2014: p53) and Wilder was “among the first to notice the full extent of the change” (ibid). As ‘the pressure generated within’ intensify, Wilder’s arborescent and structured lifestyle deteriorates and he begins to ascend the tower abodning all previously held social conventions and becoming ‘nomad’. As Wilder’s arborescent life disintegrates, both his physical appearance and attitude towards structures begins to fundamentally change: “Wilder was barely aware of the puzzled young woman or his curious colleagues in nearby offices – he had shaved only the left side of his face and had not changed his clothes since the day before” (H-R, 2014: p79). Wilder’s attitude highlights a general disregard for both his role as a television producer and the opinions of his colleagues, whilst his physical appearance begins to resemble an animal with his uneven and half-shaven beard. Structure is dissolving around Wilder. The decision to abandon his family-unit, and begin his accent of the high-rise is not one that Wilder can locate within any structured thought pattern or memory – “he could no longer remember when he made the decision to climb the building, and had little idea of what he would do when he finally got there” (H-R: 2014: p80) – and his decision appears almost insticitive. As the animal needs to hunt, Wilder needs to ascend. In addition, Wilder disregards any concern of the past or his future. As Bruns notes in Becoming Animal (Some Simple Ways) “becoming does not tolerate the separation or distinction of before and after, or past and future. It pertains to the essence to move and pull in both directions at once” (Bruns, 2007: p704). By rejecting his family and ascending, Wilder demonstrates a lack of concern for his personal history, whereas a lack of concern over his physical safety demonstrates that he disregards any notion of the future. Thereby, ascension is ‘becoming-animal’. As Wilder ascends, his behaviour becomes increasingly animalistic. Initially, Wilder demonstrates an overt need to fight in order to define himself from the plethora of nomad in the high-rise:

“The marked decline in the number of incidents disturbed Wilder – for his ascent of the building he relied on being able to offer himself as an aggressive street-fighter to one or another of the warring groups” (H-R, 2014: p178). 

Like the tiger or the polar bear, Wilder can only define himself in relation to the exterior by an overt display of violence. As the number of violent events decline amongst the occupants of the high-rise, Wilder’s capacity to ‘become-animal’ through his rejection of social structures in favour of violence is limited. The return of ‘normality’ and peace signifies the return of arborsence. However, as he ascends higher, Wilder continues to ‘become-animal’. For example, Wilder’s violent relationship to the exterior is increasingly reflected in his perception of his physical appearance: “his burly figure, trousers open to expose his heavy genitalia, glared at him from the mirrors in the bedroom. He was about to break the glass, but the sight of his penis calmed him, a white club hanging in the dark” (H-R: 2014: p181). Wilder’s relationship to his own animalistic masculinity reaffirms his process of ‘becoming-animal’. As with Patrick Bateman in American Psycho, Wilder’s appearance reflects both the process of ‘becoming’ and the rhizomatic nature of the society in which he resides.  Additionally, Wilder develops an intriguing relationship to the phallus – “He would have liked to dress it in some way, perhaps with a ribbon tied in a flower-bow” (ibid). Here, Wilder demonstrates his regression to a childlike state that accompanies the complete rejection of contemporary arborescence, and a naturailistic conception of the penis that depcits as a naturalsitic and flower engrossed symbol that is more suited to admiration than fucking. Upon completing his ascension of the high-rise, Wilder is absorbed by a collective female war-machine:

“The circle of women drew closer. The first flame lifted from the fire, the varnish of the antique chairs crackling swiftly. From behind their sunglasses, the women were looking intently at Wilder, as if reminded that their hard-work had given them a strong appetite … In their bloodied hands, they carried knives with narrow blades. Shy, but happy now, Wilder trotted across the roof to meet his new mothers” (H-R, 2014: p240)

The nomadic Wilder is absorbed, cannibalistically, into the war-machine which includes his wife. This female war-machine is one of pure exterroity, it consumes, quite literally, any force that would subvert into a structure – as Wilder previously subverted his wife to the structure of the family unit. The war-machine is an anarchic and nomadic group. 

Anthony Royal, the architect of the high-rise, is a functionary of the stateless war-machine. Unlike Wilder and Laing, Royal fels no particular connection to the violence that has come to characterise the high-rise, in spite of his innate connection, and responsibility, to the violence of the high-rise: “as always his expression was a an uneasy mixture of arrogance and defensiveness, as if he was all too aware of the built in flaws of the building he helped to design” (H-R: 2014: p31). Royal, as a social archietiet recognises that the defectiveness of the building functions as a catalyst for the destructiveness experienced within and consequently a catalyst for the process of ‘becoming’ experienced by himself and the diaspora of characters. As Cojocaru notes in Violence and Dystopia “the high-rise as a social structure is part of the utopian project of modernity” (Cojocaru, 2015: p161). Unlike the traditional connotations of his surname, Royal functions as an architect of rhizome in High-Rise ironically the structuring the structureless. Furthermore, Royal frequently rejects those who are in the process of ‘becoming-animal’. For example, at the outset of the novel, Royal rejects the amicable relationship that had formed between himself and Laing over their mutual enjoyment of squash – “”You’re here to play squash with Anthony Royal? I’m afraid he’s decided to decline” (H-R: 2014: p31) – subsequently rejecting the need to function as part of a human collective of nomads. Royal is depicted as a  ‘nomadic’ nomad that rejects the social structures integral to any organised human relationship and retreating to the company of animals. Firstly, Ballard depicts Royal as dressed in a manner that resembles one of the objects of his fascination – birds – in some way, they were attracted to Royal’s white jacket and pale hair, so close to their own plumage” – the distinction between Royal and bird begins to deteriorate with the aforementioned both coming to physically resemble and demonstrate a psychological yearning for the ‘flock’: “fearing that they might leave, he frequently brought them food” (H-R: 2014: p110). The ‘flock’ functions as a war-machine, as the bird has no connection to any structure through its capacity to fly-away whilst certain species of bird consume (physically) anything they can find, that Royal comes to reside in as a consequence of his self-elected responsibility for the death, destruction and becoming that has come to charecterise his utopian project. For Royal, the high-rise has come to resemble his idyllic zoo: 

“He had always wanted his own zoo, with half a dozen large cars, and more importantly, an immense aviary with every species of bird. Over the years, he had sketched many designs for the zoo, one of them – ironically, was a high-rise structure (H-R: 2014: p111)

Royal’s ‘zoo’ functions as a non-place of becoming: the ‘big’ cats roam and inflict senseless and hyper-stylized violence upon each other as they try to ascend or regress into their cave whilst Royal seeks the refuge of the ‘flock’. Laing and Wilder’s actions depict a process of ‘becoming-animal’, whereas Royal ‘becomes-bird’ As we have observed, reading High-Rise with Deleuze and Guattari highlights a world in which “all forms come undone” (Deleuze and Guattari: 1988, p13).

In Crash, the body without organs (the often celebrated egg) is smashed and dispersed over the bonnet of the automobile. For Deleuze and Guattari, “the body without organs is an egg: it is criss-crossed with axes and thresholds with latitudes and longitudes and geodesic lines, traversed by gradients marking the transitions and becomings” (Deleuze and Guattari, 1983: p19). More succinctly, the body without organs is a surface of random desires that resists both structure and subjectification – a zone that is constantly in the state of ‘becoming’ The body without organs is “depraved, deviant, a derelict – in other words, abnormal’ (Bruns, 2007: p709). In Crash, the characters roam the non-place resisting the organised structure of the motorway and the social conventions that govern the en masse perceptions of the automobile crash. By transcending the aforementioned, Dr Vaughan, Ballard and the sinister ensemble created around them are characterised as bodies without organs which are interjected and dissected by the harsh metal and plastic that form the contemporary automobile. They ‘become-machine’. This is exemplified in two separate, yet interrelated, ways: the intertwining of human sexuality and the automobile and the impression of the automobile upon the flesh.

The intertwining of the automobile and human sexuality reveals the perverse eroticism of the car-crash and propels Vaughan, Ballard and the ensemble of characters to ‘become-machine’: “I have watched copulating couples moving along darkened freeways at night, men and women on the verge of orgasm, their cars speeding in a series of inviting trajectories” (CR, 2O14: p9). The intertwining of the automobile and human sexuality in Crash is exemplified by the both the hyper-stylised sex between Dr. Robert Vaughan and Catherine Ballard and and the homosexual encounter between Dr. Vaughan and Ballard. Firstly, in the car-wash Vaughan and Catherine engage in a “ritual devoid of ordinary sexuality, a stylised encounter between two bodies which recapitulated their sense of motion and collision” (CR: 2014: p132). Ballard depicts this act not as a sensual encounter under the gaze of the watchful cuckold, but a physical and psychological manifestation of the motion and movement that delineates Vaughan’s, Catherines and Ballard’s functions as sexual subjects. As we have previously observed, movement is fundamental to ‘becoming’. For Ballard, the distinction between automobile and wife crumbles – “ I wanted to adjust the contours of her breasts and hips to the roofline of the car, celebrating in this sexual act the marriage of their bodies with this benign technology” (CR: 2014: p133). The arborsencent and structured distinctions between sex, woman and automobile collapse under the motions and trajectories of ‘becoming-machine’. Woman can no longer be separated from automobile. Secondly, the homosexual encounter between Vaughan and Ballard transcends the boundaries between man and machine:

The jutting carapace of instrument binnacle presided over the dark cleft between his buttocks, feeling for the hot-vent of his anus. For several minutes the cabin walls glowed and shifted, as if trying to take up the deformed geometry of the crashed cars outside” (CR: 2014: p166)

The distinction between man and machine is blurred, and it is no longer clear if it the tension of Vaughan’s anus driving Ballard towards orgasm or the instrument binnacle or deformed geometry of wrecked automobiles outside. Ballard depicts this process of ‘becoming-machine’ as a proto-mastrubatory in which a partner is indifferent to the automobile.

Throughout Crash, the automobile imposes upon the flesh. In Francis Bacon: The Logic of Sensation Deleuze contends “meat is the state of the body in which flesh and bone confront each other locally rather than being composed structurally” (Deleuze, 2003: p21). The automobile crash is the utmost negation of nature – metal, plastic and oils combine and disturb the arborescent confrontation between flesh and bone that results in meat. For Ballard, the characters of Crash supersede the category of meat, they are cybernetically enhanced meat. Meat 2.0. The body, as a biblical concept, is juxtaposed to the ‘becoming-machine’ that is enacted by the automobile crash as it is a structured site of self-denial, whereas flesh is for eating and being eaten. In this case, flesh is consumed not by the cannibal, but by the automobile. Journeying through the non-place, Ballard and Dr. Vaughan encounters numerous examples of meat and bone interjected with various components of the automobile: “The young woman was helped from her car. Her awkward legs and the angular movements of her head appeared to mimic the destroyed streamlining of the two cars” (CR, 2014: p11). The ‘awkward legs’ of the young woman are distorted by the streamlined consequences of the automobile crash, this mimicry alters our perception of what cannot be defined as meat and what can be defined as automobile. Nature and the artificial are no longer juxtaposed. In addition, the injertection of the flesh upon the automobile is not defined by the characters gaze towards the exterior, but also by their gaze towards their own combinations of flesh and bone “the aggressive stylisation of the mass-produced cockpit, the exaggerated mouldings of the instrument binnacle emphasised my growing sense of a new junction between my own body and the automobile” (CR, 2014: p41). Not just as a spectacle to be observed, but one of ‘becoming -machine’, the aggressive stylisation of the automobile comes to determine the characters perception of the self outside of the automobile crash – the smooth vehicular lines of the contemporary automobile come to delineate homogenised subjectification aside from the crash. 

To summarise, the processes of ‘becoming-machine’ in Crash ‘rescues’ animals from the  binary and structured definitions that define them as human. Once rescued, these cyborgs are open to the radical and often criminal automotive experiments. From a Delezuian perspective, a cyborg is a ‘line of flight’ that escapes the subjectification of arborscent societies. As Bruns notes “it is not  just a kind of entity (a hybrid) but a body without organs whose desires are mobile, unregulated, and (since they are not defined by the lack of an object), capable of multiple forms of satisfaction” (Bruns, 2007: p714). Throughout Crash we  are not presented with a cyborg as Richard Linder envisioned in the painting Boy With Machine, but rather a conglomeration of flesh, sexulaity and bodily fluids that culminate in the cybernetic body with organs. 

The relationship between the ‘criminal’ and becoming (either ‘animal’ or ‘machine’) is unclear through both High-Rise and Crash. As Nick Land notes in `The Thirst for Annihilation “transgression is not mere criminality, insofar as this latter involves private utility or the occupation by a subject of the site of proscribed action. It is the rather effective genealogy of law operating at a level of community more basic than social order which is simultaneous with legality” (Land, 1992: p71). Paradoxically, the non-places which charecterise the settings for Ballard’s works limit the events of the novels to local acts of transgression rather than constituting them as politically revolutionary acts. In the high-rise and on the motorway, the political, social and economic definition of ‘criminality’ is revealed to be historically baseless as the aforementioned locale have no shared memory or collective history. Therefore, for Ballard, the law does not apply to the characters, as the function in a space in which institutions such as the law cannot be defined. In addition, it may be argued that the localisation of the radical events of High-Rise and Crash prevents their events from having any ‘true’ revolutionary significance as they ascend to the level of cultural myth within the societies in which they occur. Dual-organisations, in which one radical individual ‘becomes-animal’ or ‘becomes-machine’ and the remainder of society remains as homogenised subjects, reproduce themselves as myths of the tragic and delinquent hero whose process of ‘becoming’ is reduced to a scream for freedom. The purposefully destroyed automobiles could be reduced, by a fictional mass media, to maniacal delinquent and psychopathic delinquents who merely enjoyed the anarchy their own actions created whilst the aforementioned media spreads tales and cultural legends of their actions. As Land notes in Kant, Capital and the Prohibition of Incest “the functions of these is to capture alterity within a system of rules, to provide it with an identity, and to exclude the possibility of the radically different” (Land, 2011: p71). The vocabulary that describes the events of High-Rise and Crash in a fictional media is itself inscribed within a metaphysics of modernity. 

To conclude, J.G. Ballard’s selected pieces of fiction envision and identify processes of ‘becoming-animal’ and ‘becoming-machine’. In High-Rise, Ballard depicts Laing, Wilder and Royal ‘becoming-animal’ through their individual actions throughout the course of the violent events that protruded the high-rise, whereas in Crash Ballard describes the characters as ‘becoming-machine’ through the intertwining of human sexuality and the automobile, the impression of the automobile upon the flesh. In addition, we have observed that the aforementioned is a requisite of the continued functioning of the non-place and that the ahistorically and traditionally defined ‘criminal’ acts that occur throughout both novella cannot be defined as criminal as they function in a locale outside of collective memory. By reading High-Rise and Crash with Deleuze and Guattari, we have redeemed them from numerous over-exerted Freudian interpretations and revealed them as radical novellas of becoming that challenge human subjectivity and propel their characters towards transgressing their own limits. They are not novellas of the tree, they are novellas of the rhizome. 

Bibliography

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