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• W3096055003 abstract "Vermilion Sands (1971), the title J.G. Ballard ascribed to one of his collections of short stories, stands out as a powerful visual marker for its equally vivid setting: an extreme environment where inner and outer space merge, and where deranged dreams and alluring nightmares may eventually come true. The imaginary place named Vermilion Sands is a once popular seaside resort now turned, as its name suggests, into a gloomy, red-shaded desert, peopled by eccentric aristocrats and lethargic artists, by mysteriously charming women and seductively spellbound men with their trail of private illusions, unspeakable secrets and unfathomable obsessions. Often seen as a specimen of quintessential Ballard’s science fiction, the book has been read as a critical reworking of conventional formulas: the barren Martian soil paradoxically relocated to Earth, to an unspecified part of the American continent as the only possible home of utopian thinking, Ballard himself having warned that «the only truly alien planet is Earth». And while it certainly pays tribute to the modes of Surrealism and Modernism, Vermilion Sands may rightly be seen as representative of its author’s aesthetic choices and stylistic solutions. The one crucial feature that seems to have eluded the attention of critics so far, however, is the notion of «extremity» itself, which I would take as an invaluable hermeneutical tool for analysing the competing claims of space and subjectivity in the stories. Ballard’s writings have often been described as «visual fiction», that is to say as stories told in and through pictures, where landscape provides much more than mere aesthetic background and becomes psychologically relevant as it serves to externalize otherwise elusive, and often dangerously unsettled, individual identities. The experience of extreme spaces always leads characters to tackle personal boundaries, both on the physical and on the psychical level. Encounter thus takes place at the precarious junction between an unstable self and its uncertainly defined surroundings, each being in a way shaped by the other. In many respects, extreme environments are the epitome of solitude, a common human plight ever since the existential crisis of modernity: they convey contradictory drives, and express at the same time euphoric and dysphoric attitudes, Eros and Thanatos, inadmissible desires and irrepressible fears. The waterless shore of Vermilion Sands, symptomatically suspended in time, is in fact the place where long-repressed memories of trauma and ambivalent feelings eventually resurface, and thwart all efforts to suppress the instinct-driven sea of primeval unconscious. Landscape is a key to understanding mind, and vice versa; ultimately, both are conjured up as extreme spaces inviting an exploration, a voyage, a reading: in other words, a visually intense and truly transformative experience." @default.
• W3096055003 created "2020-11-09" @default.
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• W3096055003 date "2020-01-01" @default.
• W3096055003 modified "2023-09-25" @default.
• W3096055003 title "Voci dal mare di sabbia: Vermilion Sands di J.G. Ballard" @default.
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• W3096055003 doi "https://doi.org/10.4000/books.ledizioni.10725" @default.
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