McKenzie Wark’s new book, “Raving,” may be the most extensive depiction of the underground party scene that has recently exploded in Brooklyn.
,” from 2020, which could be described as an autoethnography of sexuality and gender).
In 2021, just as New York’s restrictions on night life lifted, Wark was asked to write a book for a series being published by Duke University Press about practices. Being asked to participate in the series, and to think about what in her life constituted a “practice,” broke her writing curse. “Raving” is the result: small, pink, and a hundred and thirty-six pages long, including footnotes and color photographs.
Wark writes also of the threat that she refers to as style extraction. She defines it: “We play, make moves, gestures repeating, become styles—that are extractable as forms of intellectual property, harvested for the benefit of a ruling class that owns and controls the vectors of information.” On the next page, she admits, “This book, for instance, LOL.” Wark tends to name d.j.s and other people, such as lighting designers, with public profiles, but leaves the events and her friends disguised.
Much of this book concerns itself with time—with the connection Wark can feel with her past selves as she dances, and with the way the drugs she sometimes uses can distort and warp her sense of it.
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