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This document summarizes and compares how two authors, J.G. Ballard and Sarah Kane, explored themes of violence and war in their influential works Empire of the Sun and Blasted. Both Ballard and Kane drew from personal experiences with war and violence to confront its psychological impacts and the blurring lines between mediated and real war. Kane incorporated depictions of the Yugoslav Wars into her existing play about domestic violence to show the connection between interpersonal and mass violence.
This document summarizes and compares how two authors, J.G. Ballard and Sarah Kane, explored themes of violence and war in their influential works Empire of the Sun and Blasted. Both Ballard and Kane drew from personal experiences with war and violence to confront its psychological impacts and the blurring lines between mediated and real war. Kane incorporated depictions of the Yugoslav Wars into her existing play about domestic violence to show the connection between interpersonal and mass violence.
This document summarizes and compares how two authors, J.G. Ballard and Sarah Kane, explored themes of violence and war in their influential works Empire of the Sun and Blasted. Both Ballard and Kane drew from personal experiences with war and violence to confront its psychological impacts and the blurring lines between mediated and real war. Kane incorporated depictions of the Yugoslav Wars into her existing play about domestic violence to show the connection between interpersonal and mass violence.
Kane's Blasted There is an unsolved mystery in literature, a subject that is haunting the human mind since it was discovered on the onset of time mortality. Facing our own mortality, unnatural as it may seem, we have gradually explored and exploited our instinct of survival and turned its violent aspects against our own kind, creating an uncontrollable monster of war. This is where the two writers step in. J.. !allard"s Empire of the Sun and #arah $ane"s Blasted are the authors" most influential works which attempt to confront and understand how war, ever more present in modern society, continues to influence our daily lives and our violent ways. %ivided by a period of twenty years, they have lost none of their urgency. &s #arah $ane wrote' () believe, and without doubt believed during the period ) was writing !lasted, that violence is the most urgent problem we have as a species, and the most urgent thing we need to confront.* +$ane in iammarco ,--.'17-22/. Coping with violence and war in art %uring what we now perceive as the (dark ages* of history, that is anything that precedes our own troubled modern era, violence has established both as a driving and destructive aspect of human action. The existence of death, war, murder, decapitation, mutilation, rape, cannibalism has for long been recogni0ed in stories of the receding past, ambivalent present and uncertain future. The 1estern culture has dealt extensively with the nature and significance of violence. )n the oldest myths people are exposed to immoral and impersonal ods who rule the world solely by their overwhelming might and varying tempers. )n violent legends of human bravery, heroes face their dooms armed only by their passion and will to survive. )n religious stories saints and martyrs reject violence and accept pain through martyrdom. 2n the other hand, violent punishment is often reserved for non3believers. Finally, since the debate of the nature of violence had exceeded contrasting duality between body and soul, corporeality and spirituality, philosophers, scientists, psychologists, and finally artists attempt to explain what exactly drives mankind towards violence in their own ways. )n the postmodern age, violence had become an integral part of our lives through collective experience of war in our day to day lives, war that is everlasting, ambiguous, war that has many faces and non' total war, (cold* war, war on terror, the real war, as opposed to (make3believe conflicts invented( +!allard ,-45',5/ by the media and the war machinery. )n contrast to this distorted imagery of war and violence mediated to us via media, we tend to put a personal experience. &s the main character in J.. !allard"s 6mpire of the #un observes' (Jim had no doubt which war was real. The real war was everything that he had seen for himself 789 7)9n a real war, no one knew which side he was on, and there were no flags or commentators or winners. )n real war there were no enemies.* +!allard ,-45',5/ The problem however begins when these two experiences start to influence each other to the point where we can"t distinguish any more between them. 1e expect there to be a clear line, an easily distinguishable contrast in what is presented to us with bright colour of media coverage and what we perceive ourselves. 2nce we encounter this imagery in real lives, we tend to associate it with the familiar images perceived through media, we find it difficult to believe that we are part of it' (Jim found it difficult to believe that the war had at last begun. 1alls of strangeness separated everything, every face that looked at him was odd. 789 :e almost expected 7to be told9 that they were part of a technicolour epic staged at the #hanghai film studios.* +!allard ,-45';,/ & separate, violent reality is introduced, overwhelming our senses, (turning into a newsreel leaking from inside 7of9 head.* +!allard ,-45',5/ This is what connects the characters of Empire of the Sun, and Blasted, the doubling of reality and space that occurs when they are confronted with real war and the anxiety and insecurity it brings. (& peculiar space was opening around him, which separated him from the secure world he had known before the war*, +!allard ,-45'.</ (& strange doubling of reality had taken place, as if everything that happened to him since the war was occurring within a mirror* +!allard ,-45',=>/. &nd this is exactly why artistic depiction of violence will still stir so much emotion in the audience. !ecause we had developed a sense of insecurity, distorted reality where violence of a distant mediated war can enter our own lives unpredictably, unexpectedly, as the two realities merge together, and shatter our lives to pieces. For the authors of Empire of the Sun and Blasted this is the confrontation worth exploring, expressing and further mediation to their public. Inspiration in a blast 1hen the authors decide to explore such themes in depth, it is never solely based on their concern or curiosity. For !allard and $ane, as for so many other authors before them and after, response to these themes is deeply rooted in a personal, emotional experience. There is however a difference in how much time they allow to pass between the experience itself and its emotional reflection in their works. )n his book on J.. !allard, &ndr0ej asiorek finds a similarity in the way artists responded to the vast catastrophe of the 11) and the amount of time !allard allowed to pass between his childhood experience in #hanghai and writing of his semi3autobiographical novel Empire of the Sun. asiorek finds a clue in what ?irginia 1oolf (wrote' @)n the vast catastrophe of the 6uropean war our emotions had to be broken up for us, and put at an angle from us, before we could allow ourselves to feel them properly in poetry or fiction.* +1oolf in asiorek, A==;',;5/ !allard, even in is his earlier works, which have more science fiction features than autobiographic, cannot deny the influence of his childhood experience of war. &s he himself explained, it is the perception of the world that changes, after the frightening experience of war' B) don"t think you can go through the experience of war without one"s perceptions of the world being forever changed. The reassuring stage set that everyday reality in the suburban west presents to us is torn downC you see the ragged scaffolding, and then you see the truth beyond that, and it can be a frightening experience.B +!allard in Divingstone, ,--</ :is experience was shaped by events, truly historical in the nature, Japanese attack on the Ehinese sector of #hanghai, (the worldFs first internationally sectored urban center, the model for modern !erlin. 789 7T9he #hanghai bombing had inaugurated the era of what Field Garshall 6rich Dudendorff was the first to call Btotalitarian war,B a phrase he later shortened to the title of his ,->; book Total 1ar.* +Hichards, ,--A',A,/ )n Archive and Utopia, Thomas Hichards further describes the new idea of Total 1ar on the example of #hanghai and primarily its Ehinese, but also international population'(The inhabitants of #hanghai were the first besieged population in history who literally had nowhere to go. They were not surroundedC they could not surrender. They could not even become refugees, for wherever they went, the Japanese had seen to it that there was war.* +Hichards ,--A' ,AA/ Jim"s personal experience in Empire of the Sun starts with the faint memory of the subseIuent ,->. bombings, which further escalated the nature of the Total 1ar' (#treet after street of Ehinese tenements have been levelled to the dust, and in the &venue 6dward ?)) a single bomb had killed a thousand people, more than any other bomb in the history of warfare.* +!allard ,-45'A;/ Jim further observes the coming global conflict from his own, local, individual perspective. The sinking of :G# Jetrel mirrors the eve of Japanese attack on Jearl :arbour, the surreal light coming from Kagasaki atomic blast foretells the atomic fright of the Eold 1ar. )n case of young writer #arah $ane, blast becomes a dramatic device, a vehicle that enables her to merge the personal, individual, immediate reality of -="s !ritain with the reported reality of Lugoslavian 1ar, one of the first to be broadcast live to peoples" bedrooms. &t the time, she was writing a drama about domestic violence and rape, but as the live coverage pressured on, she had decided to incorporate the two seemingly unrelated, separate subjects' (&t some point during the first couple of weeks of writing ) switched on the television. 7...9 #uddenly, ) was completely uninterested in the play ) was writing. 1hat ) wanted to write about was what )"d just seen on television. #o my dilemma was' do ) abandon my play 7...9 in order to move on to a subject ) thought was more pressingM #lowly it occurred to me that the play ) was writing was about this. )t was about violence, about rape, and it was about these things happening between people who know each other and ostensibly love each other &nd then ) thought' B1hat this needs is what happens in war3suddenly, violently, without any warning, people"s lives are completely ripped to pieces. 7...9 )"ll plant a bomb, just blow the whole fucking thing up.* +$ane in #ier0 A===',==3,=A/ )n the process of writing, $ane had reali0ed that what she wanted to write about was really this thin wall between the domestic violence in secure, peacetime !ritain and violence of civil war' "2f course, itFs obvious. 2ne is the seed and the other is the tree." +in #ier0 A===',==3=A/ (!lasted raised the Iuestion' @1hat does a common rape in Deeds have to do with a mass rape as a war weapon in !osniaMF &nd the answer appeared to be' @Nuite a lotF. The unity of place and time suggests a paper3thin wall between the safety and civili0ation of peacetime !ritain and the chaotic violence of civil war. & wall that can be torn down at any time without warning.* +#aunders, ,--;'-=/ &s !allard, she had approached the subject of violence from her own perspective. rowing up as a daughter of a tabloid journalist, she knew how reporting violence can easily become a routine, how real domestic violence becomes just another story' () write . . . stories. That"s all. #tories. This isn"t a story anyone wants to hear. 789 Kot soldiers screwing each other for a patch of land. )t has to be . . . personal.* +$ane ,--;'54/ )t is significant, that the main character of Blasted )an is a tabloid journalist, who is in the nature of his position blind to emotions and miseries of others. :e is racist, misogynistic, homophobic and overall, frightened of agoni0ing and slow death that his life is turning into. :e denies his former girlfriend and denies the #oldier to be recogni0ed as a human person and war victim. :e insists on a distinction between the atrocities of war and what he calls, personal stories. $ane"s, as !allard"s description of violence is very graphic, powerful onslaught on our senses. &nd while !allard attacks our imagination, $ane attacks the traditional theatrical boundariesC she does not allow her viewers to distance themselves from the action on the scene and directly involves their own emotions. )n her dramatic imagery, $ane took the inspiration from other playwrights that had depicted violence on stage, most famously #hakespeare"s King Lear with its powerful image of blinding, which she associates with castration of primary senses' () thought thereFs something about blinding that is really theatrically powerful. &nd given also that )an was a tabloid journalist it was a kind of castration, because obviously if youFre a reporter your eyes are actually your main organ.* +$ane in #aunders ,--;'5=/ ¬her, lesser known #hakespeare"s play, but more violent and scandalous itus Andronicus resembles $ane"s work, with its explicit themes and characters of Hevenge, Gurder, and Hape. !ut $ane did not rely solely on one source of inspiration, for a post3modern character and feel of Blasted. #he was using familiar patterns of domestic drama mixed with realism and theatre of absurd, tearing them apart to pieces, stitching them together in unlikely places and therefore challenging viewers" expectations of theatre towards the more realistic experience of war. &s she explains, she only used the different traditions to create a real3life feel in the play' B) tried to draw on lots of different theatrical traditions. 1ar is confused and illogical, therefore it is wrong to use a form that is predictable. &cts of violence simply happen in life, they donFt have a dramatic build3up, and they are horrible. ThatFs how it is in the play.B +$ane in !ayley ,--;'A=/ Imagery The images that the two authors describe in connection with violence and war are sickening in nature but not shocking in their originality. They follow a tradition of introspectiveness in art that always had the potential to access the deepest emotions hidden underneath humanity, exposed to the light of the day as the rotten bodies of war in Empire of the Sun or )an"s head out of the grave he dug for himself at the end of Blasted. 2ne image that really stands out above the others is the image of war feasting on violence, violence on humanity, food feeding death. :istorically, one of the first artists, systematically dealing with violence surrounding him and truly successful in painting the bleak picture of a society diseased by a civil war, was a #panish painter Francisco oya. 2ut of his most powerful and disturbing pictures, never meant to be shown, one stands out in relation to the prevailing image of both, Empire of the Sun and Blasted. Saturn !evouring "is Son was painted directly onto the walls of oya"s house in what is known as the series of !lack Jaintings. oya never explained or gave title to the painting, but the haunting image of a desperate character feeding on the limbs of unidentifiable human has been associated with reigning Homan god #aturn. &ccording to Homan myth, it had been foretold that one of the sons of #aturn would overthrow him, just as he had overthrown his father, Eaelus. To prevent this, #aturn ate his children moments after each was born. ) believe this is an image that fits very well as the metaphor of perpetual war driven by flesh and bodies portrayed in Empire of he Sun and Blasted. )n Blasted, given its dramatic character, this is image truncated to fit the scene of a small theatre, implied in the symbol of a dead baby fed to a dying man, and stories told by the #oldier. he Empire of the Sun, having much more space for the vivid description as a novel creates this uniIue time and space, surreal image of #hanghai as a whole planet feeding of war, invigorated by war' (1ars came early to #hanghai, overtaking each other as tides.*(1ars always invigorated #hanghai, Iuickened the pulse of its congested streets. 6ven the corpses in the gutters seemed livelier.* +!allard ,-45';</ (The living who ate or drank too Iuickly ... would soon join the overfed dead, Food fed death, the eager and waiting death of their own bodies*+!allard ,-45'>=5/. :unger for survival, obsession by food and disconnecting from pain seems to be crucial in this world, at least to the main character of Jim and his fellow survivors' (Kow that he felt stronger, Jim reali0ed how important it was to be obsessed by food. #hared eIually among the prisoners, the daily rations were not enough to keep them alive. Gany of the prisoners had died, and anyone who sacrificed himself for the others soon died too.* +!allard ,-45',,-/ 2ut of the variety of nations in #hanghai, the strangest for Jim and perhaps the hardest to understand in their ways were the Ehinese. Ontil he had himself experienced the condition of hunger and weakness, estrangement from himself' ()t was his mirror self who felt faint and hungry, and who thought about food all the time. :e no longer felt sorry for this other self. Jim guessed that this was how the Ehinese managed to survive.* +!allard ,-45',=>/ This might also be the case of characters in Blasted# they never truly understand each other until their share the same pain, the same weak condition of being alive, until they reali0e (the truth that million of Ehinese had known from birth, that they were as good as dead anyway, and that it was self3 deluding to believe otherwise.* +!allard ,-45'>>./ (The Ehinese enjoyed the spectacle of death, Jim has decided, as a way of reminding themselves how precariously they were alive. They liked to be cruel for the same reason, to remind themselves of the vanity of thinking that the world was anything else. $ * +!allard ,-45';</ )n his article %obility and %asochism, Hobert D. Easerio further elaborates on the idea that in war we surrender our collective lives' B!allard"s novel suggests that we have not survived the war, but have survived our collective death. )ndividual life appears to go on, in all its immediate vitalityC but the collective commitment to nuclear war nullifies this life. The living has become restless ghosts playing dangerous games with their posthumous condition.B +Easerio, ,-44'>=</ This description perfectly fits the manner in which the character of Jim clings on to his survival while all the time also being aware of the vanity of surviving in a dying world. For Jim (7T9he light 7of a nuclear blast in Kagasaki9 was a premonition of his death, a small soul joining the larger soul of the dying world* +!allard ,-45'A<./ Morality and resolution )n the end, it is not the graphic nature of violence described in these works, nor their haunting nature, that makes the audience uneasy it is the urge to process the emotion and establish an opinion, to evaluate the images and integrate them within their our own systems evaluation, ethics and understanding of the human condition. $en Orban describes his own personal experience with Blasted# B&s ) left the Hoyal Eourt Theatre following the performance, ) didnFt really have any words to express what ) had just undergone. Dater that evening, it suddenly hit me' watching the news on T? before bed, ) was suddenly overcome with tears. $ane was able to use the theatre in a manner that was distinctly visceral, making intense use of the experience of being in a theatre. !ut at the same time, she knew the stage is always, as !eckett taught us, a place of thought, and this made her push the boundaries.B +Orban, A==,'5</ , Gy italics :e also pictures the world of #arah $ane, as a world of catastrophe, an image that has been often used describing the nature of !allard"s fiction as well. (Hather than distinguish right from wrong, the core of all moralistic enterprises, or conversely, flirting with a cynical amorality, where anything goes, $ane dramati0es the Iuest for ethics 789 $ane gives us a world of catastrophe 7...9 with the possibility that an ethics can exist between wounded bodies, that after devastation, good becomes possible. +Orban A==,'>./ #arah $ane herself explained that she loosened the boundaries intentionally, in order to directly approach the human nature of her audience rather than their morality or values' (7T9here isnFt a very defined moral framework within which to place yourself and access your own morality 3 or distance yourself from the material. ) think thereFs a great deal of moral manoeuvre in the play and thatFs probably one of the distressing things. ) suppose that ultimately itFs not about social breakdown 3 itFs about the breakdown of human nature itself.* +$ane in #aunders A==-'<,/ #imilarly, !allard"s alter3ego Jim leads the reader through an array of moral codes, leaving him morally, and ethically silent, emotionally dead, but left with a strong will to survive. &ndr0ej asiorek remarks it is the acceptance of his conditions and the will which guides Jim' (This acceptance of the conditions imposed by war leads Jim to embrace an entirely different set of codes and conventions in which preservation of the self is the first priority. 1ithin this asocial realm there is little room for altruism or moral scruples of any kindC a closed, self3perpetuating circuit links physical survival, emotional deadness and ethical silence.* +asiorek A==;',5./ &nd that is what the war and the immediate experience of violence ultimately brings to the characters, a chance 3 an imperative to reconstruct themselves' (the war effectively shatters JimFs identity together with all his received values and notions of life, and forces him to reconstruct himself from the ground up, as it were.* +#tephenson, ,--,',>,/ Conclusion )n the end, there is a conclusion that can be drawn from both works. There is indeed vast amount of violence in society and the permanently hovering shadow of war threatens the very existence of our civili0ation, but it also gives way for reconstructing our values and establishing a simpler ethics of surviving together'(To be fixed by an intrusive spectacle even of global horror and death is to be shocked back to where one began, at the verge of the vital order, remembering unambiguous vital function. &nd no matter what one sees there, whether ambiguities or determinations, perhaps this memory is in itself the best fight for life.* +Easerio, ,-44'>=</ &s $en Orban hopes and J.. !allard fears' BEate and )an show us the possibility for good, that people ravaged by unfathomable violence can give each other the gift of survival.B +Orban, A==,/ (though survivors can be dangerous. 1ars exist for people like 7that9* +!allard ,-45'A,A/. 1ars enter our lives, with their violence, overcoming each other like tides, but if we can understand their nature, even as these tides are getting higher and more freIuent, we might still have a chance to live on. Bibliograhy Primary sources !allard, J... Empire of the Sun. rafton !ooks, ,-45. Jrint $ane, #arah. Blasted. And ed. Gethuen Jublishing Dtd, A==A. Jrint Secondary sources !ayley, Elare. A &ery Angry 'oung (oman. )ndependent +Dondon/, A> January ,--;. Easerio, Hobert D. %obility and %asochism# )hristine Broo*e+,ose and -. .. Ballard. )n K2?6D' & Forum on Fiction, ?ol. A,, Ko. AP>, 1hy the Kovel Gatters' & Jostmodern Jerplex Eonference )ssue +1inter 3 #pring, ,-44/, pp. A-A3>,= %uke Oniversity Jress. &vailable online' Qhttp'PPwww.jstor.orgPstableP,>5;5-.R. &ccessed' ,-P=4PA=,= =-'5, %i iammarco, Hodolfo. /nterview with Sarah Kane, ,< #ept ,--.. 2riginally published in raham #aunders' @Dove Ge or $ill GeF' #arah $ane e il Teatro %egli 6stremi +trans./ Dino !elleggia +Home, A==;/, pp. ,.3AA asiorek, &ndr0ej. -... Ballard. Ganchester Oniversity Jress, A==;.Jrint. Divingstone, %.!. -... Ballard# )rash# 0rophet with "onour. )n #pike Gaga0ine 2nline, 7,--<M9. &vailable online' Qhttp'PPwww.spikemaga0ine.comP=4--ballard.phpR Hetrieved ,A Garch A==<. Hichards, Thomas. Archive and Utopia. )n Hepresentations, Ko. >., #pecial )ssue' )mperial Fantasies and Jostcolonial :istories +1inter, ,--A/, pp. ,=53,>; Oniversity of Ealifornia Jress. &vailable online Qhttp'PPwww.jstor.orgPstablePA-A4<;<R &ccessed' ,-P=4PA=,= =-';A #ier0, &leks. /n+'er+1ace heatre# British !rama oday. Faber and Faber, A===. Jrint #aunders,raham. /nterview with Sarah Kane, ,A June ,--;.#tart the 1eek, broadcast on !!E Hadio 5, A= Feb ,--; )n raham #aunders'"&bout $ane". Faber and Faber, A==-. #tephenson. 2ut of the night and into the dream# a thematic study of the fiction of -... Ballard. )n )ssue 5. of Eontributions to the study of science fiction and fantasy. ?olume 5. of Eontributions in %rama and Theatre #tudies. &!E3ED)2, ,--,. Orban, $en. An Ethics of )atastrophe# he heatre of Sarah Kane.)n J&J' & Journal of Jerformance and &rt, ?ol. A>, Ko. > +#ep., A==,/, pp. ><35<. Jerforming &rts Journal, )nc. &vailable online at' Qhttp'PPwww.jstor.orgPstableP>A5<>>AR &ccessed' ,-P=4PA=,= ,,'AA