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Rare Books Ub r::l .,hef Ro:(e dl--rf\eS RARE BOOKS UB. *' The University of Sydney ~ Copyright and use of this thesis This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's moral rights if you: • fail to acknowledge the author of this thesis if you quote sections from the work • attribute this thesis to another author • subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services Telephone: 02 9351 2991 e-mail: [email protected] Chemical and Carnival Fiona McGregor's chemical palace and Sydney's radical queer dance party scene Emma Banyer, Bachelor of Arts (Honours), University of Sydney Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Sydney, August 2010 Abstract Dance parties are renowned for the feeling of transcendence they offer participants. When people go 'clubbing', they enter an environment antithetical to their daily lives: a mysterious, sexualised and exciting realm of possibility. During the HIY/AIDS crisis of the 1990s, gay, lesbian and queer communities utilised dance parties to conjure a powerful sensation of community and fraternity in the face ofthe disease. Meanwhile, on the margins of'gay and lesbian Sydney', an alternative subculture thrived, with ambitious radical queer dance parties bringing colour and energy to Sydney's inner-city ghettos. Fiona McGregor's 2002 novel, chemical palace, records the spirit and aesthetic of the dance party scene of the 1990s and early 2000s. McGregor's protracted and sprawling novel is a fantastic foray into literary experimentation written with the aim of recording a diminishing subculture. In creating a record of the radical queer nightclub scene of the I 990s, McGregor has unwittingly written a manifesto that expresses the ethos and depicts the unique camp and grotesque aesthetic of this scene. Bakhtin's notion of'the camivalesque' provides a frame for analysing the power of the party spaces in McGregor's novel, as well as the nature and effects of grotesque performance and symbolism. Reviewers have been quick to apply labels to McGregor's novel that are, upon consideration, inappropriate for the text. The tendency of critics to categorise the novel as 'grunge fiction' obscures its joyful, affirmative and spectacular qualities, and indiscriminate labels such as 'gay and lesbian fiction' ignore the universal themes of place and transformation at the novel's nucleus. However, in imparting the untold story of radical queer Sydney, chemical palace is also an example of 'minor literature', and is thus evaluated in the light ofDeleuze and Guattari's three seminal characteristics: 'the deterritorialization oflanguage', the 'connection of the individual to a political immediacy', and the 'collective assemblage of enunciation' (Minor 18). Through McGregor's circular third-person narration and individual character monologues, the reader perceives a sense of impending, profound change for the characters. There is acuity of movement towards an ending or 'winding-down' of their lifestyle that mirrors the violent pace of construction and gentrification of Sydney's inner-city. Elegiac movements in the narrative firstly depict a loss of innocence stemming from exposure to disease and the heightened awareness of risk and danger. This facilitates a movement towards a radical communal sensibility and way of living in response to poverty, illness and crisis. Finally, the narrative charts a slow movement away from that lifestyle, which is presented concurrently as a cause for sadness and a necessary and natural transition. Written during Australia's 'Howard Era', chemical palace captures the energy and colour of resistant subcultures and offers an extraordinary and enduring record. 2 Acknowledgements It's been an extremely long road from the beginning to the end of this project. I am not the same person as I was I started it. Many people have assisted in ways they may or may not already know. So deep and meaningful 'thank yous' go to: • Fiona McGregor for writing a book in which we saw ourselves reflected • Luke T for introducing me to the novel • Ali H for writing wonderful zines and believing in the 'Reckless Pursuit of Fabulousness' • Liz S and Louise T for being my inspiration, and interested in the project always • Starkles, Matt, Emma H, Phoebe T, Sarah T, James and Sam M for giving me a place to stay and feel welcome on my numerous trips to Sydney • Irene M, Jo P, Karen H and the FaHCSIA Library for giving me time off and encouragement in these last months • Puppet (Dave) for never wavering in friendship and consistently asking, 'how's your thesis?' • Justin De, Sean R, Sarah M, Steph B, Liam B, Nathan R, Liz C, Erin S and Gemma H for proofreading and/or awesome general support in these last months • J01ja M, Aaron S, and Peter A for putting up with me and insisting on the abundant value of this undertaking • Justin Daniells for being so supportive and sweet, and doing my dishes so I'd have more time to work© • Mamma Banyer for believing in me! And being genuinely interested to hear about what I was writing • Dad Banyer for insisting !focus, and don't spend all my money on 'sex, drugs and rock and roll' • Nana and Papa Banyer for financial assistance and having faith in me. I'll never forget what Papa said about having a PhD: 'No matter what you do in life or where you go in this world, people will look at you with respect, because you've achieved something great. No one can ever take that away from you.' Finally, most of all I would like to thank my supervisor, Melissa Hardie- for everything. Emma Banyer 3 Contents Chemical and Carnival 6 A chemical assemblage . ........ ..... ······· 7 Collective enunciation . ...... IO Meaningful intensities. ... II 'Serious play': the work ofchemical palace ..... ............ 13 Dance floor as carnivalesque space .. ··········· ....... I4 1. The Chemical Palace: Sydney's radical queer dance party scene 17 Hell Bent: Sydney's radical queer culture in the 90s ..... ....... I8 McGregor's queer .. .......... ········· 2I Defining The Chemical Palace .. .......... 26 lnteractivity .. ...... ·············· 29 A non-consumerist hedonism .. ......... ··············· ........ 30 The aesthetics, the parties, the people .. ··········· ················ ··············. ························· 38 2. The Carnival: Transcendance and work/play on the scene 44 Dance party as carnival .. 45 Different social relations .... .. 59 Work/play in the carnivalesque context.. .. 62 Connections ... intensities ... machines ... 68 3. Sydney is the essence 70 John Birmingham's Sydney ... 7I Psychogeography and Ruth Park's Sydney .. ......................... 73 Sydney: sin city ... .................... 75 Fiona McGregor's Sydney .. ............ ·················· ....... 77 Vicious bitch-goddess: The Sydney ofchemical palace .... ................................ 80 Psychogeography and the notion of 'the scene' ............... 89 4. Bohemian rhapsody: the form and style of the novel 91 Out ofgrunge ......... .......................................... ·················· ····················· 93 A bohemian rhapsody....... ...... 96 Depending on the throw ofa die .. ............. IOI Into postmodernity? .... ····· I02 Menippean? Numerous digressions ... ....... .............. I07 A transaction .. ....... I/0 4 5. The Grotesque Body: deeply positive 112 A radical queer grotesque .. 112 Grotesque camp.... 121 The abject sublime .. ........ .... 125 6. A minor literature 132 Deterritorialization. 136 Political immediacy ... 140 Collective assemblage .. 142 7. Nostalgia: is The Chemical Palace a ruin? 145 AIDS and elegy .. 145 Little deaths: pleasure ... risk ... injection .. 151 Who killed the dance party? ...... ............... 156 Bitter-sweet: nostalgia in chemical palace ........ .. 159 Js The Chemical Palace a ruin? ......................... ...... 163 Epilogue: after the carnival 166 Howard's legacy ... .167 The urge ...... 169 The ephemeral gesture ..... ....................................................................... ········· ......... 171 Works Cited 173 Appendix 1 Interview 1 with Fiona McGregor 179 Appendix 2 Interview 2 with Fiona McGregor 184 Appendix 3 Interview with Trash Vaudeville 187 Appendix 4 'Font' performance artists' handout /90 5 Chemical and Carnival We fled suburban banality and places beyond for innercity chaos, saw our salvation in the subterranean night-life. We turned away from our upbringings, demonstrated against the government, we looked for love and purpose, got lucky or died trying. We wore black, we wore leather, bright colours and freaky hairdos. We fucked around. We partied, we took drugs, we dressed up and danced. That was the same
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