Deep Ends 2016 is a full-size, full colour anthology featuring 27 of today's top J.G. Ballard scholars, artists, and informed Ballardians. Contents include: "Ballard/Baxter/Ballard: In Conversation", by Fay Ballard and Jeannette Baxter, "Empires of the Self: J.G. Ballard's Autobiographical Novels", by D. Harlan Wilson, two poems by Richard Brown -- "Super-Mare" and "Afterwords", "J.G. Ballard's Elaborately Signalled Landscape' The Drafting of Concrete Island" by Chris Beckett (includes 10 pages of manuscript, including Ballard's screenplay of Concrete Island), "Ballard, Wyndham and the English Disaster Story Tradition", by Dominika Oramus, "A Ballard/Moorcock Chronology: 1963-1965" by David Pringle, "J.G. Ballard & the Ethics & Aesthetics of the End of Time" by Elana Gomel, "Love Triangle of the Hermaphrodite: Dali, Ballard and Theroux" by Lawrence Russell, "Ballardian Topographies" by David Manley, "Waste in J.G. Ballard's Urban Disaster Trilogy" and "The Ben Wheatley and Amy Jump Rendition of High-Rise" by Rachele Dini, "J.G. Ballard's Adventures in Potential Literature" by David Paddy, "Nature Recaims Her Own: J.G. Ballard's The Drowned World" by Adrian Tait, "Testing Reality: A Middlesex Routine", an interview by Bernard Sigaud, "A Giant Trilobite in the Desert: Spaceport America and The Voices of Time" by James Reich, "An Atrocity Stockist: My Experiences Selling J.G. Ballard's Works in Britain's Mainstream Bookshops, 1984-2016", by Stephen Andrews, "The Speculative Turn and J.G. Ballard's Extro-Science Fiction", by Andrew Wenaus, "The Colonial Imaginary in Verne, Roussel, Jarry and Ballard", by Paul March-Russell, "The Poetics of Studio 5, The Stars", by Paul Green, "J.G. Ballard and Me" by Val Vale, "His Closest Friend: A Profile of Christopher Evans" by Mike Holliday, "Helen Remington, The Daily Mail and the Car Crash Sex Film" by Raymond Tait, "Interview With Sam Scoggins" by Rick McGrath, "Women from a Distance" by Pippa Tandy, a 1991 JGB interview by Paul Di Filippo, and "The Greatest TV Show On Earth" by Bea Ballard.
