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Sex and the Sydney Context of Michael Wilding’S Early Fiction

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Sex and the Sydney Context of Michael Wilding’S Early Fiction SEX AND THE SYDNEY CONTEXT OF MICHAEL WILDING’S EARLY FICTION Ian Harold Jamieson Doctor of Philosophy 2009 University of Western Sydney ACKNOWLEDGEMENT I wish to thank retired Associate Professor Ken Stewart who helped me start this thesis and suggested Michael Wilding as an area of research. I would also like to thank retired Associate Professor Frances de Groen who kept me on task and the thesis moving along. Finally, I would like to thank Professor Leon Cantrell who saw the thesis through to completion. Each person has willingly given of their time and professional expertise. Most importantly they have always been understanding, tolerant and most of all always encouraging. I have always thought I could rely them. Without their input I would not be submitting this thesis. I owe them a debt. STATEMENT OF AUTHENTICATION The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. ………………………………………… TABLE OF CONTENTS Page Chapter One Getting Bearings and Setting a Course 1 Chapter Two Surveying Some Terrain: A Selective Literature Review 33 Chapter Three An Encouraging Push 93 Chapter Four Seeing the Sites 115 Aspects of the Dying Process 115 Living Together 155 Scenic Drive 215 Conclusion 257 Bibliography 261 i ABSTRACT Since his arrival in Australia in 1963 Michael Wilding has been extremely active in academia, publishing and the writing of fiction. He has been industrious and prolific in all spheres. During the 1960s and 1970s he held a central position in the intellectual and cultural life of Sydney. He was a significant figure who produced a significant body of work. He is still very active in publishing and the writing of fiction. Despite this, Michael Wilding is a figure who has been marginalized and largely ignored. This thesis strives to redress this situation, focusing on the context, content and impact of some of Wilding‟s early fiction: Aspects of the Dying Process, Living Together and Scenic Drive. The early fiction of Michael Wilding was not only reflective of the changes taking place in Sydney in the 1960s and 1970s, but also contributive to those changes. His early fiction gave an imprimatur to the social changes taking place, encouraging readers to accept and adopt a participatory role in the countercultural zeitgeist. Most specifically, Wilding‟s early fiction achieved this via its positive and realistic rendering of the sexual behaviour of the young, urban dwelling people of Sydney of the period. A close reading of three of Wilding‟s early books of fiction, with an emphasis on their portrayal of sex, evidences this. New approaches to sex were one of the most efficacious agents for countercultural change during the period and Wilding‟s fiction facilitates the effectiveness of that agency. Wilding‟s portrayal of sex is a subversive act. Cultural materialism, and to a lesser extent new historicism, have provided the theoretical framework for this thesis. This approach has promoted the contextualizing of Wilding‟s early fiction in the Sydney of the period, as well as in the broader context of the countercultural events that were taking place throughout the world. Cultural materialist belief in the agency of texts as being contributive to the social and cultural conditions of a period, either as reinforcers of the status quo, but more importantly as agents of change, is a tenet of this thesis. A theoretical debt is owed to Raymond Williams and his concept of dominant, residual and emergent cultures. Given the vitality ii of emergent practices of the time, this thesis has sought to introduce the additional concept of assertive practices. Wilding‟s early fiction is viewed as an emergent and assertive practice. New historicist Catherine Gallagher has suggested that the 1960s saw a form of subversive activism that eschewed old-style politics as a means of change. Instead there was a belief that a variety of sites and local contests would lead to a systemic crisis or revolutionary conjunction which would be productive of countercultural change. This thesis accepts Gallagher‟s argument: Wilding‟s early fiction constitutes such a site and is a contributing factor to that revolutionary conjunction. Part of the process of contextualizing Wilding‟s fiction is achieved by a selective, but detailed, review of the literature on the 1960s. Critical assessments are made of some of the leading accounts of the period: positive and negative responses to the 1960s are analysed. Texts dealing with Australia during this time are included. Placing Wilding in the more specific context of Sydney is realised by a detailed treatment of the Push. Central to the Push philosophy and lifestyle was an attitude to sex that was counter to the morality and behaviour of the dominant culture of Sydney of the time. Wilding‟s arrival in Sydney coincides with the heyday of the Push and it is into the milieu of the Push that he chooses to move. The sexual attitudes of the Push segue easily with the emerging sexual philosophy and practices of the counterculture. Wilding moved in a part of Sydney where an emergent and assertive approach to sex was foregrounded and valorized. His early fiction reflects and promotes these new practices. A close reading of the representation of sex in Aspects of the Dying Process, Living Together and Scenic Drive supports this assertion. Michael Wilding is a significant figure in the cultural landscape of Sydney who has been much overlooked. This thesis is an attempt to register that significance by analyzing a small part of his prodigious and ongoing output. iii CHAPTER 1 Getting Bearings and Setting a Course “But our hardest task, theoretically, is to find a non-metaphysical and non-subjectivist explanation of emergent cultural practice.” Raymond Williams.1 “There must be someway out of here.” Bob Dylan.2 The Great Hall of Sydney University is an imposing building. It is one of the centrepieces of the “sandstone gothic”3; it is of another time and place, replete with gargoyles to ward off evil forces. Inside, its high-ceilinged walls connote seriousness, solidity and tradition. In 1969 the Chancellor‟s Orientation Week speech of welcome was attended by academic staff, dressed in their academic robes, enhancing the overall aura. During the speech a young man completely naked, except for a gorilla mask, interrupted the proceedings. On his chest were the words, “The more I make love, the more I make revolution.”4 So much for the gargoyles. In 1970 Wendy Bacon was a joint editor of Tharunka, the student newspaper of the University of New South Wales. Among other things, Tharunka was of a high standard and sexually explicit. Some other papers of the time (Kings Cross Whisper, for example) were also sexually explicit. Wendy Bacon said, “What upset people about ours was that it was also political.”5 Publishing the poem „Cunt is a Christian Word‟ assaulted accepted standards of decency and landed Wendy Bacon in court.6 She turned up wearing 1 Raymond Williams, „Base and Superstructure in Marxist Cultural Theory‟, in Problems in Materialism and Culture. Verso Classics, London, 1997, p.42. 2 Bob Dylan, „All Along the Watchtower.‟ From the album John Wesley Harding. 1968. 3 The term “sandstone gothic” is taken from Andrew Riemer‟s Sandstone Gothic: Confessions of an Accidental Academic. Allen and Unwin, Sydney, 1988. 4 Robin Gerster and Jan Bassett, Seizures of Youth: The Sixties and Australia. Hyland House, Melbourne, 1991. p.54. 5 Anne Coombs, Sex and Anarchy: The Life and Death of the Sydney Push. Viking Penguin Books, Ringwood, 1996. p.242. 6 Ibid.p. 243. - 1 - the black habit of a nun with the words, “I‟ve been fucked by God‟s steel prick”7 clearly visible. So much for accepted standards. There is agency in these anecdotes8: agency to maintain a status quo and agency to confront it. And there is sex as an aspect of that agency for change. Both anecdotes align the forces of established authority against a mode of behaviour intent on disrupting that authority. In the first anecdote authority clearly manifests itself in the intentional formality of the setting and the occasion. In the second it is overtly present in the backdrop of court buildings and the legal and judicial forces they represent. Both manifestations of authority powerfully exert a controlling influence over people - it is staid, serious, formidable and palpable. Even what could be seen as amusingly anachronistic about both manifestations only functioned to lend each authority a sense of mystique associated with revered and time honoured institutions. Ranged against this authority is what must have appeared to be a joke - two individuals in provocative dress, or lack of, displaying slogans. It would appear to be a no contest situation. However, it doesn‟t turn out that way. Both individuals use sex to confront the authority. Once sex ceases to be controlled, under the guise that it is private, sacred and unmentionable in public, authority finds it difficult to react effectively. At the university the man uses his nakedness, his sex, to disrupt, while his slogan emphatically connects sex with overthrowing that authority. Outside the court the weapon is again sex. The woman is there because of sex, and her slogan uses the language of sex, a language highlighted by its juxtaposition with her attire. Both individuals are certainly iconoclastic, but both go beyond mere iconoclasm and actively seek to confront, disrupt, subvert and to change. Both these anecdotes exist outside of the mainstream histories, except perhaps as colourful footnotes.
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