Disco Apocalypse : Liminal Fictoscapes and Hatricks: Where did the White Rabbit Go? Submitted by Lisa Pizaro Bachelor of Arts in Media Studies (Royal Melbourne Institute of Technology) Post Graduate Diploma in Professional Writing (Victoria University) Post Graduate Certificate in Education (Monash University) Masters of Arts in Creative Writing (University of Melbourne) A Research Thesis in two volumes submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy. Communication Culture and Language Faculty of Arts Victoria University St Albans, Victoria 3021 January, 2007 Exegesis 1 VOLUME TWO EXEGESIS HATRICKS: WHERE DID THE WHITE RABBIT GO? Exegesis 2 TABLE OF CONTENTS CHAPTER ONE – INTRODUCTION 1. LIMINAL FICTOSCAPES CHAPTER TWO – METHODOLOGY 6. CONSTRUCTION OF CHARACTER DECONSTRUCT TITLE TELL IT TO THE CAMERA THE SIGNIFICANCE OF NUMBER EIGHT CHAPTER THREE – WHERE AM I? 28. GROWING UP IN THE SHADOW OF THE MUSHROOM CLOUD CHAPTER FOUR – BETWEEN THE WORLDS 44. DAKOU – TO GO LIKE A SNAKE KUNDALINI SNAKEBLOOD Exegesis 3 CHAPTER FIVE – BEWITCHED 58. HOW I CHOSE A COVEN THE WITCH OF POSITANO THE WITCH OF THE CROSS CHAPTER SIX – THE WORLD IS A VAMPIRE: 71. WRITING IN THE FACE OF THE ABYSS CHAPTER SEVEN – MAGICK, RITUAL AND BODY STYLE: 78. CONTEMPORARY FICTION FOR THE BACKPACK A COSMIC GRABBAG FOR A GENERATION ON THE RUN THE RITUAL OF STORYTELLING CHAPTER EIGHT – CONCLUSION HATRICKS; WHERE DID THE WHITE RABBIT GO? 95. BIBLIOGRAPHY 100. Exegesis 4 CHAPTER ONE INTRODUCTION LIMINAL FICTOSCAPES Time and space are not really so much conceptual opposites as complementary parameters of experience (Heise, 2003). What are some of the challenges and opportunities for an Australian feminist fiction writer producing a text about people on the edge? Liminal people, threshold people, people “betwixt and between” and the spaces they inhabit?1 I will respond to this question by discussing my process in crafting the novel Disco Apocalypse. This thesis comprises a novel, Disco Apocalypse: Liminal Fictoscapes, and an accompanying exegesis, Hatricks: Where did the White Rabbit Go? that as a whole explore socio-political and aesthetic currents in contemporary culture and literature by means of an authorial journey. The ultimate aim of the thesis is to create a body of work which applies a critical analysis and produces an original and exhilarating cutting edge narrative. Exegetical activity is a framing device positioned between the world created in the fiction and the world the reader inhabits. It is aimed at creating a link between the creative work, its milieu of production, and the broader field into which it is projected. (Krauth, 2002: 3-8) 1 Anthropologists Arnold van Gennep (1960) and Victor Turner (1969) discuss and develop these concepts of liminality and “betwixt and between” which are discussed further throughout this exegesis. Exegesis 5 I envisage the exegesis as the cellular structure of the DNA strand where each component contains its own cell of information, links into the next component, and is then incorporated into the whole to give a complete picture. The exegetical focus radiates from one information unit into the next, much like stages in a ritual event, with sections differing in style and focus, sometimes exemplifying literary criticism of particular works, other times presenting accounts of personal immersion in ritual practices such as tattooing, occult events, visionquest and goddess worship. The narrative style of Disco Apocalypse is sparse and cutting in execution as distinct from the flamboyant verbosity, repetition or excess of novelists such as Angela Carter, Bret Easton Ellis or Kathy Acker. One of the characteristics of the postmodern world is sharp cuts between images, split images and speedy consecutive images familiar in film and visual art forms. The point-and-click, immediate-gratification world we inhabit is reflected by this prose style in Disco Apocalypse. The novel has been written as a series of continuous narrative segments, each bearing a distinct title which offers insight into the particular segment which follows. This technique is infrequently used by novelists, but can be seen in William Burroughs novel, Cities of the Red Night, (1981) and in Christos Tsiolkas’ and Sasha Soldatow’s collaborative autobiography, Jumpcuts (1996). In the last few years, my research and writing practice have focused on creating fiction that connects with my own experience of backpacking around every continent in the world except Antarctica, and then having to return home to my boring life. This raises questions, political, intellectual, personal and spiritual about the mind space and the physical space I inhabit – where I go when I am out on Exegesis 6 the edge on the road, the people I meet, the situations I engage with and the impact I make on those whom I meet albeit briefly – and the I that returns home. What do I return home to? What with? Who am I now that I have returned? I am not the me that I was when I was out there and I am not the me before I left. I am “betwixt and between”. I myself am a liminal person inhabiting the space at the threshold. In 1997 I was backpacking around South America as a strict vegetarian who made no allowances for travel in a desert with scarce vegetation. In Santa Cruz, a small town in Bolivia I found a vegetarian restaurant called Restaurant Vegetarianista. In a country that was economically challenged and faced food shortages for much of the population, some members of the population chose to impose further restrictions upon their already limited diet. Once inside the restaurant I discovered that neither the patrons nor the staff could speak English, and in my tortured Spanish I was presented with Hare Krsnna pamphlets rather than a menu. Only one dish was offered for the day. In a country with a heritage abundant in Inca and Pre-Columbian myths, folklore and rituals, where ninety-five percent of the population professed to be Catholic, and over fifty percent of the people are of pure Amerindian blood, an enclave existed and managed to survive financially practising the beliefs of a contemporary version of the parables of an Indian deity. On many occasions locals told me of the complementary views of Andean and Indian philosophy. “Live in the moment” was a moral I heard frequently from locals, especially as a parting greeting. I wasn’t sure whether their awareness stemmed from the internet, cable TV and the proliferation of literature in English describing the life of gurus like Krishna Murti and Sri Chimnoy, or if my Peruvian, Brazilian and Bolivian peers shared an interest in what the Theosophical Society in Melbourne snidely refer to as, “metaphysical shopping”, or if they were like me, liminal and filling up their own cosmic grab bag. They would Exegesis 7 always ask, “When can you send me your book?” Some would add, “Put us in it, then we’ll be famous!” Communitas is a Latin term referring to a collection of neophytes who are living in the liminal phases of a rite of passage (Turner, 1969). Liminality, a term derived from the Latin word, limen, meaning “a threshold”, is a period of transition. The liminal stage is the second stage of a ritual.2 Liminal personae, threshold people, slip through the network of classification, which include jobs, families, prestigious positions and market-based audiences that normally locate social positions in a cultural space. In the novel, the characters are outside of or opposed to an agenda-setting hierarchy. The characters analyse and mythologise local situations as fluid and unpredictable, though influenced by global trends. In quintessential postmodern form,3 they have homed in on the micro-situation – to “think globally, act locally”. The characters therefore reflect key aspects of Pomo or postmodern selfhood. Douglas Coupland in his book, Shampoo Planet (1992) exemplifies this style: “It’s early afternoon, the best time to hit the gym because the after-work crowd has yet to invade, and so only the unemployed, the semiemployed, and the marginally employed people are here – people like bouncers, cocktail waitresses, and talkers on the phone-sex lines. Like all gymgoers, their eyes are riveted to the walls of mirrors and their flesh and their Lycra skins of coy, calculated skimpiness. Funny, but mass unemployment hasn’t upped the number of afternoon gymgoers here in Lancaster, and those jobseekers really ought to be here since working out would give them a sense of empowerment that would help their job searches. Any career manual will tell you that. 2 Ritual is discussed in Chapter Seven. 3 Quintessential postmodern form is a buzzphrase used to describe elements in contemporary culture which characterise the essence of pomo operating in the world. Hypertext represents this, as does reality TV and experimental pomo writing. Exegesis 8 “The jobless are probably all too proud and loafing at home, inhaling lite beer and trash TV,” says Harmony. “Life of shame,” says I. (Coupland, 1992: 168) I wrote the novel from that liminal place of falling through the rabbit hole and found myself to be like Alice, caught “betwixt and between” in the dream world of hatricks, white rabbits and hookhah smoking caterpillars.4 Aldous Huxley refers to this liminal area as the antipodes of the self-conscious mind where you can encounter all sorts of creatures at least as odd as kangaroos (Huxley, 1954: 62). 4 The image of Lewis Carrol’s white rabbit from Alice in Wonderland (1865) is one that inspires many researchers across all disciplines as they create the landscape of the thesis or creative work. Exegesis 9 CHAPTER TWO METHODOLOGY I guess I just want to go on a journey and so I start with a sentence and then the language twists and turns and you donʹt even remember where youʹve been, youʹre always faced with the present.