52 pages • 1 hour read
J. G. BallardA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: This section of the guide includes discussion of death.
Six weeks later, Kerans wakes to the roar of a distant creature. Looking through the window, he sees a hydroplane pass over the lagoon. Since Riggs’s departure, Kerans has remained isolated in the penthouse of the Ritz, feeling himself regress into some vestigial memory of the past, just as Bodkin had predicted. He has visited Beatrice and Bodkin, but both seem “increasingly preoccupied” with their own interests (100). Bodkin is exploring the submerged London of his youth. Kerans suspects that the hydroplane was a scout for others, so he boards his catamaran to take a look. He watches the plane and hears a sound, something resembling the jungle being torn up. He follows the sound and finds many boats, which are being directed by the man in the hydroplane. At least 2,000 giant alligators surround the hydroplane “like hounds around their master” (103). As Kerans rushes toward his catamaran, the vessel is knocked loose by the waves caused by the hydroplane. The catamaran floats into the circle of alligators, which attack the vessel and tear it apart. Kerans, knocked into the water, barely escapes an alligator.
Kerans reaches Beatrice’s hotel. When she asks what is happening, he suggests that the lagoon is being visited by pirates who have trained the alligators as their watchdogs. Neither he, nor Beatrice, nor Bodkin have anything to offer pirates, he assures her. A paddleboat arrives in the lagoon. The vessel is three stories tall and loaded with machines and cargo. Kerans believes that these pirates—nicknamed “freebooters” (105)—are among the looters who pillage the drowned cities abandoned by humanity. They want the generators and other specialized equipment left behind by government agencies. Bodkin, Beatrice points out, is waving to the freebooters from a rooftop. Kerans believes that they should announce themselves to the freebooters so that the men will leave as quickly as possible.
The big paddleboat belongs to a man named Strangman, the leader of the freebooters and the driver of the hydroplane. Kerans, Beatrice, and Bodkin board Strangman’s boat, and he asks them when they are due to leave the area. Kerans is suspicious about Strangman, who possesses a “curious air of menace” (108). He answers cautiously while noting that Strangman’s skin is strangely pale for a man who seemingly spends so much time exposed to the sun in such a warm climate. Bodkin launches into a long explanation of his theory of neuronics and human memory, insisting that he, Kerans, and Beatrice are reassimilating into their biological past. They will remain in the London lagoon to achieve this, he says. Strangman is unimpressed with the theory. He offers to take the trio on a tour of the so-called “treasure ship” (110). Kerans presumes that, at one time, the paddle boat had been a gambling steamer but is now filled with the antiques and artwork that Strangman has looted from sunken cities. As Strangman leads them, Kerans becomes increasingly ill disposed toward him and his “looted relics” (112).
For two weeks, Kerans watches Strangman closely. Strangman watches over his team as they loot the buildings around the lagoon. At the same time, Kerans’s increasingly frequent dreams are beginning to “encroach on his waking life” (113). Drained, he withdraws further into isolation. The more time he is forced to spend with Strangman, however, the more the pirate seems to warm to him. Strangman arranges for a diving party. This is a social event, planned to bring together the trio of Kerans, Beatrice, and Bodkin. Strangman seems to hope that, through Kerans, he will be able to get closer to Beatrice. He is also increasingly curious about the old planetarium that Bodkin has submerged and maintained for a long time. Strangman believes that Bodkin is hiding “some long-buried treasure” and ignores Kerans’s insistence that the planetarium contains nothing more than Bodkin’s lost memories (115).
The following day, Strangman’s second-in-command, the Admiral, collects the trio for the party. Kerans sees the creatures around the lagoon, noting that the number of albino reptiles has increased since the arrival of the freebooters. The Admiral supervises the dive, in which the freebooters use underwater breathing devices and telephones to explore the submerged planetarium. They find very little, which irritates Strangman. Quietly, Kerans suggests to Bodkin that Strangman is seeking “the treasure” that Bodkin has hidden inside the submerged planetarium. Bodkin is amused to think of Strangman searching for this intangible treasure. Beatrice declines Strangman’s invitation to take a dive, saying that she is afraid of the sea. Kerans volunteers in her place. He dives into the water, which is warmer than he expected. While underwater, Strangman’s voice is piped into Kerans’s diving suit through the telephone device. Kerans reassures himself that Strangman would not try to kill him in this moment and then is spooked by his own reflection in a mirror. Gradually, however, he adjusts to the dive. Strangman urges him to look inside a safe, but Kerans removes the telephone device and goes to explore.
Kerans explores Bodkin’s planetarium. Inside, he wonders at the cracked dome and the light that sparkles through from above. As he explores, however, he realizes that his air supply has been cut. Kerans begins to slip into unconsciousness. He wakes up on the deck of the ship, with the Admiral performing CPR on him. Kerans finally comes to enough to splutter the name Strangman, who is standing nearby. He insists that he was not to blame, having warned Kerans not to “go down too far” (128). Strangman theorizes that Kerans deliberately placed himself in danger out of a desire to “become part of the drowned world” (129). Kerans spends the next few days thinking about this comment, wondering whether it is true. He cannot decide whether his desire to be part of the drowned world is suicidal or part of his unconscious “devolutionary descent” (150). Kerans represses these thoughts; neither Beatrice nor Bodkin presses him on the matter.
One day, Kerans is woken by the sound of Strangman’s hydroplane. Kerans is curious why Strangman has come to visit him, but Strangman insists that he has grown fond of Kerans. He invites Kerans to dine with him, claiming that there will be “fire-work displays, bongo drums and a surprise” (133). Kerans questions whether this is an elaborate farewell, but Strangman insists that this is only the beginning. A strange fascination with Strangman is all that has kept Kerans from traveling south already. Kerans accepts the invitation.
Strangman’s ship is lavishly decorated with his looted relics, and the stranded trio dresses elegantly for dinner. Sipping brandy, Kerans speaks to Strangman over dinner. He wants to know about the surprise, but Strangman jokes that the surprise is already in plain view—Kerans simply has not noticed it yet. Down on the deck, Kerans observes, the freebooter crew is peering into the lagoon. Kerans realizes that the water level is falling and that the buildings are rising up above them. This “total inversion of his normal world” confuses Kerans (140), while Bodkin mumbles about powerful pumps being used to drain the water. Strangman claims that swamp fungi have grown to form a wall around the lagoon; his men dammed the final point of influx, allowing him to drain the water and reveal a section of the submerged city. Bodkin recognizes their location: They are descending into Leicester Square, a formerly famous part of the West End of London. Kerans notices a change in Strangman’s demeanor. As the water drains, Strangman seems more callous. His manners and courtesy fade. The sight of the city shocks Beatrice, who likens it to “some imaginary city of Hell” (145). Beatrice needs the lagoon, she tells Kerans. He suggests that they travel south over the newly revealed silt flats. Studying familiar sights from his childhood, Bodkin refuses the offer to join them.
Just half an hour after the draining of the lagoon, the trio is able to walk the silt-covered streets of London. Strangman leads the freebooters as they pass the newly revealed cafes, cinemas, and shops. Bodkin points out to Kerans the planetarium where Kerans nearly died. He is initially fascinated but then leads Beatrice away, claiming that “the magic has gone” (147). They chance upon an alligator, but the freebooters shoot it. Strangman watches with “evil pleasure” and then presents Beatrice with the gift of a rhinestone necklace (148).
For several days, the trio and the freebooters wander the streets. Kerans feels increasingly disoriented, particularly at night. He spends most of his nights in Beatrice’s quarters and occasionally visits Bodkin, who urges him to take Beatrice and leave to “find another lagoon” (149). Kerans agrees but feels a strange need to stay, which he cannot quite explain. The following night, he discovers that Bodkin has vanished. Kerans assumes the Bodkin fled south to a different lagoon. Beatrice, like Kerans, has sunk into “a private reverie” (151). She attends Strangman’s nightly parties, dressed in looted jewels, and does not engage with anyone.
At one of the parties, Strangman informs Kerans that the freebooters fear him because they think he is “dead” (152). A freebooter named Big Caesar performs a song about Kerans titled “The Ballad of Mistah Bones,” though he is interrupted by Strangman leaping to his feet and pointing into the distance. He is pointing at Bodkin, who is carrying a small wooden box along the perimeter wall of the lagoon. A light is fizzing on a wire hanging from the box, which Strangman recognizes as a bomb. The freebooters rush to stop Bodkin and his bomb before it blows up the dam that holds back the waters of the lagoon.
Strangman is first to the bomb, which he kicks into the nearby creek. He draws his gun and chases after Bodkin. A short time later, he returns. Bodkin is seemingly dead. Strangman blames Kerans for Bodkin’s attempt to flood the city. He believes that Kerans should have foreseen what Bodkin would try to do. He is unsure whether he can continue to trust “mad biologists” (154). Despite Beatrice’s attempts to defend Kerans, the freebooters surround him. They kick him down, and an unseen person covers his face with a cushion as others beat him around the neck.
The three main characters remain behind after Riggs’s departure and embrace their newfound loneliness. Kerans is quite explicit about his desire to live “almost alone in his penthouse” (99). Each is committed to an interior odyssey—a journey into “inner space”—and they do not require company. Bodkin is preoccupied by his research, Beatrice is preoccupied by her relentless performance of 20th-century luxury, and Kerans is preoccupied with his yearning for the south, which he has determined is the only means of Asserting Agency in the Face of Human Extinction. They make occasional visits to one another; the infrequency of these visits illustrates the hollowness of the romantic relationship between Kerans and Beatrice, though “despite their superficial estrangement, there [i]s an intact underlying union” (100). They rely on one another for something, though neither is particularly sure what that something is. This is true for all three. The trio is living in a post-apocalyptic world, reenacting the collapse of society on a smaller scale. After Riggs—the embodiment of humanity’s last remaining institutions—departs the lagoon, the trio becomes increasingly atomized and isolated. They withdraw onto their own private islands, just as society has been forced to withdraw from large-scale communities. In this small scene, the trio replays the collapse of society on a smaller stage, and they do so willingly. They have survived one apocalypse, so they are sure that they can survive another.
The “splendid isolation” that Kerans once enjoyed does not last long (20). Riggs’s departure is followed, several weeks later, by the arrival of Strangman and his cult-like crew. Strangman’s arrival is not a coincidence: He comes to the lagoon because Riggs is gone. The arbiter of legal and moral authority has abandoned the lagoon, and Strangman seeks to fill the vacuum, only to discover the trio still in place. In a thematic sense, Strangman’s arrival signals a moral inversion. With Riggs gone, Strangman provides an example of the other end of the moral scale. While Riggs endeavors to preserve institutional authority after the collapse, Strangman thrives on anarchy. He is not beholden to the rules, laws, or values that Riggs embodies. Whereas Riggs inspires his men and lifted their morale, Strangman elicits a cult-like devotion from his own strange crew. Whereas Riggs has authority over soldiers, Strangman is followed by thousands of trained alligators. The juxtaposition between Riggs and Strangman is an important instructional moment for Kerans, as his mind continues to wander south. In Riggs and Strangman, he has contrasting reactions to the apocalypse. One man seeks to maintain the order of the past, while the other wants to embrace the anarchy of the present. Kerans tries to locate himself between the two men, with his aversion to Strangman initially suggesting to him that he cannot possibly agree with the pirate.
Strangman tolerates the trio’s presence. While he has no real loyalty to them, they do fascinate him. Beatrice is particularly appealing to Strangman, as her performative replication of 20th-century luxury makes her just like one of the many relics he loots from sunken cities. To Strangman, the trio is something of an opportunity. They represent the kind of society that—through his piracy—he has completely left behind. As such, he throws dinner parties for the trio. He asks them to dress up for the occasion and surrounds them with priceless art, an ironic demonstration of middle-class manners that seems to mock the society he loathes. He treats them as actors on a stage, performing Civilization as a Social Construct only to demonstrate its emptiness. Strangman’s performance is constantly on a knife edge, with the characters unsure when he might suddenly turn on them. Strangman is as dangerous as the jungle that they were sent to study. More than any other character, he is a demonstration of how the changing climate has changed the psychologies of humans.
By J. G. Ballard
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