logo

43 pages 1 hour read

J. G. Ballard

Empire of the Sun

Fiction | Novel | Adult | Published in 1984

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Themes

Parental Absence During Wartime

When Jim is in the camp at Lunghua, he cuts out and pastes part of a photograph, containing a couple, to his cubicle wall. As he says, “this unknown English couple […] had almost become his mother and father. Jim knew they were complete strangers, but he kept the pretence alive” (143). Early in the novel, Jim is separated from his parents. And despite his best efforts, he is not reunited with them until the war’s end. As such, Jim struggles during his years in the camp to, as he says, “keep alive the memory of his mother and father in order to sustain his confidence in the future” (175). While Jim is mature and independent for his age, he is still a child. He naturally misses the emotional intimacy and care provided by his parents. This is especially true given the dangerous, brutal, and chaotic world he inhabits after the attack on the International Settlement. He looks to maintain the memory of his parents and the possibility of seeing them again, to give his struggles in the present meaning and purpose.

However, as Jim’s identification of his parents with the strangers in the photograph shows, he starts to forget who his parents are. As he says in the camp, “[T]heir veiled figures still entered his dreams, but he had forgotten their faces” (139). The passing of time, combined with the radically different life he lives without them, distances Jim from his parents. Like with the photograph, Jim looks for surrogates to fill the void. He attaches himself to several figures in the novel to gain that parental substitute. Basie, for example, emerges as an early candidate here. In some regards, he helps and supports Jim and gives him useful advice on how to survive. Yet he has only a limited emotional investment in Jim. Basie is ultimately self-interested and is happy to dispose of Jim when it suits him. For example, he turns his attention to two young orphans and away from Jim on the way to the camp, despite Jim having helped and fed Basie when he was sick. A similar dynamic plays out with regard to Private Kimura. The Japanese private in the camp is happy to be friends with Jim and “often invited Jim to the bungalow he shared with three other guards and allowed him to wear his kendo armour” (133). He also has the authority to protect Jim. But as shown by “the whirlwind of blows” (133) with which Kimura strikes Jim after Jim dons the armor, his interest in Jim is temperamental and abusive.

In contrast, other potential surrogates are kinder to Jim. Mr. Maxted and Dr. Ransome have more of an emotional connection to Jim and are more genuinely concerned for his well-being. The problem is that they also lack authority. As Jim says, “He supported Mr. Maxted out of nostalgia for his childhood dream of growing up one day to be like him” (146). In the pre-war world, Jim looks up to Mr Maxted as an alternative father figure and a figure of respect. But in the world of the camp, he becomes someone weak who needs support from Jim, rather than the other way around. Although Dr. Ransome is not as weak as Mr. Maxted, his ability to protect Jim is still limited. Access to the basics of life—food, warmth, security, and water—is dependent on the favor of the Japanese guards, over which Ransome has little influence. As such, Ransome simply cannot command the respect of a true parent in peacetime, and Jim knows this. Like for Ballard, whose parents were with him in an internment camp, the conditions of the camp rob the adult prisoners of their usual authority over children and their means to control them. It also means that Jim remains effectively parentless until the novel’s end.

The Romanticization of the Second World War in Film and Print

At the novel’s end, Jim witnesses repeated screenings of war newsreels, projected onto the scaffolding of Bund Street in Shanghai by the Nationalist military governor. As he notes, these depict “the same repetitive images” (294) he saw in the Shanghai cathedral at the novel’s start. They show Russian machine gunners, US marines with flame-throwers, and British bombers attacking German railyards. As such, Empire of the Sun is framed by cinematic depictions of the war. It is also permeated by the vision of war in the copies of Reader’s Digest which Jim acquires and avidly consumes in the camp. Yet despite Jim’s interest in this material, especially in print form, these images are “totally removed from his own experiences in Shanghai and Lunghua” (261). He adds, “At moments, as he studied the dramatic accounts of tank battles and beach-heads, he wondered if he himself had been in the war at all” (261).

The reason for this disconnect is in part circumstantial. Outside of the main areas of conflict and interned in a civilian prison camp, Jim does not directly witness the most dramatic moments of the war. There is a huge difference between the ideal of war and its reality for most people. As Jim says, the account of the war given in Reader’s Digest “described an heroic adventure on another planet, filled with scenes of sacrifice and stoicism, of countless acts of bravery” (244). This is a romanticized vision of war in which individual valor and grand strategy are central. It is a vision of clear and unambiguous enemies and allies, clear winners and losers, and unambiguous beginnings and ends. It is the vision of war designed to allow for easy understanding and consumption.

In contrast, Jim’s war, like that of so many others, is characterized by ambiguity and confusion. Characters like Basie, Dr. Ransome, and Jim himself are rarely unequivocally brave or selfless. Actions that seem noble, like Basie saving Jim from the other bandits, are bound up with self-interest. Conversely, highly selfish actions, such as Jim’s taking of the water ration, are problematically fused with genuine bravery. Moral boundaries are hazy. The Japanese soldiers, often portrayed in war films as cruel enemies, are capable of acts of kindness, as seen when the soldiers feed the starving Jim while he is living between abandoned houses in Shanghai. Meanwhile, Lieutenant Price, ostensibly on the same “side” as Jim, wants to deprive him of the food he stored from the American air drops. Ballard hopes to capture a less clearcut and dramatic vision of war in the novel. His is the war of blurred borders and chaos, And as seen by the emerging new conflict with the Chinese communists, the war does not even have a clear beginning and end.

Conflicted Cultural Identity and the Ideal of “Britishness”

Waiting with the other prisoners to be taken from the prison camp to Nantao, Jim tries explaining to Mr. Maxted why the Japanese soldiers do not need to kill them on the way. The reason, Jim believes, is because “everyone in Lunghua was dead” (200) already. As such, the act would be superfluous. However, anticipating this explanation from Jim, and before Jim can express it, Mr. Maxted “cuffs” Jim, and exclaims “remember you’re British” (200). In many ways, this interaction epitomizes Jim’s conflicted relationship to British identity. Jim has never been to Britain, or even Europe. Yet he is continually reminded of a mythical England and the values associated with it. Jim remembers doing homework with his mother “and the stories she told him of her childhood in England, a country far stranger than China” (48). He is also subject to the nostalgic vision of Britain provided by his father, British soldiers, and later the British prisoners in the camp. This is a world of rugby, public school, and “sunlit lawns that seemed to cover the entire country” (142). It is an idea cultivated and reinforced by “constant talk about pre-war London” (137) from British families and by the renaming of the camp’s alleys after famous London streets.

More generally, British values are inculcated in Jim through attempted recreations of British culture and education. Dr. Ransome does his best to impose on Jim a traditional “British” education, teaching him Latin and arithmetic and having him memorise patriotic poetry. Meanwhile, the Lunghua Players allow Jim to see and perform in Shakespeare and Wilde plays. This includes Henry V, a play about English bravery and military triumph. All of this is designed to instill in Jim liberal British values, part of which, as indicated by Mr. Maxted’s response to Jim, is about remaining calm and rational in the face of adversity, and not succumbing to either despair or pessimism.

Yet as the novel progresses, Jim becomes increasingly alienated from these efforts. While Jim is intrigued by the ideal of Britain, and in his resourcefulness embodies certain archetypally “British” values, he is drawn ever more toward something different. As shown by his obsession with the question of death, his experiences of the war and its horrors teaches him an outlook closer to fatalism. This reaches a climax when Jim sees the dead Japanese pilot, his “twin” (286), and has an epiphany. As he says, “he had failed to grasp the truth that millions of Chinese had known from birth, that they were all as good as dead anyway, and that it was self-deluding to believe otherwise” (286). Here, Jim comes to intuitively grasp the idea that since the world is defined by loss and suffering, it is better to expect nothing from life. In a metaphorical sense, Jim comes to accept that he is already dead. This viewpoint is the antithesis of liberal British rationalism and its enlightenment positivity. It also suggests why Jim, even after travelling to England, will always remain an outsider there.

blurred text
blurred text
blurred text
blurred text