Disco Apocalypse : Liminal Fictoscapes and Hatricks: Where - VUIR

129 Pages·2007·1.34 MB·English

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. Youʹre always going
somewhere, you always end up somewhere. You want to be surprised
(Acker in Kleiveland, 1999).

In this chapter I discuss the strategies involved in constructing both the title
and the main characters, and the construction of a text where the reader is
engaged in the narrative structure through the technique of disclosure
(revelation and confession). The commencement of the overriding theme of
ritual process is introduced.

The Literature Review has been incorporated into the body of the thesis in
each chapter.

CONSTRUCTION OF CHARACTER
I used the Myers-Briggs Type Indicator (MBTI) in the development of the
characters of Suzy G and Kit, the two sisters who dominate the story.

The aim of Isabelle Myers-Briggs and her mother, Katharine Briggs in
developing the MBTI was to make the theory of psychological types described
by C.G. Jung understandable and useful in people’s lives.

Exegesis 10