Almost as soon as 'club culture' took hold - during the UK's Second
Summer of Love in 1988 - its sociopolitical impact became clear,
with journalists, filmmakers and authors all keen to use this
cultural context as source material for their texts. This book uses
that electronic music subculture as a route into an analysis of
these principally literary representations of a music culture: why
such secondary artefacts appear and what function they serve. The
book conceives of a new literary genre to accommodate these stories
born of the dancefloor - 'dancefloor-driven literature'. Using
interviews with Irvine Welsh, author of Trainspotting (1994),
alongside other dancefloor-driven authors Nicholas Blincoe and Jeff
Noon as case studies, the book analyzes three separate ways writers
draw on electronic dance music in their fictions, interrogating
that very particular intermedial intersection between the sonic and
the linguistic. It explores how such authors write about something
so subterranean as the nightclub scene, and analyses what specific
literary techniques they deploy to write lucidly and fluidly about
the metronomic beat of electronic music and the chemical accelerant
that further alters that relationship.
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