Scoring Ecstasy: MDMA, Consumerism and Spirituality in the Early Fiction of Irvine Welsh

Abstract

Ecstasy (MDMA) is a drug whose short-term dangers have been demonstrated by a number of deaths, and whose long-term effects are still unknown. It is also illegal. Nevertheless, people continue to take it. This essay aims to address the question of why they do so. I argue that MDMA's ability to enhance communication and offer people a version of religious ritual means that the drug has the potential, at least, to modify subjectivity and intersubjective relationships. In particular, I study how one contemporary novelist and commentator on the club/rave scene, Irvine Welsh, explores this potential in his work. I focus mainly on his novel Marabou Stork Nightmares, the novella “The Undefeated” (from the collection Ecstasy) and the title story of the collection The Acid House. I am especially concerned with how Welsh reads MDMA's problematic relationships to consumer capitalism and to the ecstatic or otherworldly states that are loosely described by his characters as “spirituality.” I also address Welsh's accounts of LSD experience in the same stories in order to show how he situates the identity of the drug user as poised between the sense of self-affirmation and empathy offered by MDMA and the sense of self-annihilation (via an encounter with subjectless language, or Foucault's “thought of the outside”) offered by the LSD experience. I argue that the reason for this bipolar construction of subjectivity in Welsh's work is his wish to explore the drug-using subject's conflicting relationship to consumerism, which offers neither selfaffirmation nor self-annihilation, but a merely passive relation to experience, in which the subject's task is to absorb (consume) images and material goods. I will suggest that in playing out these conflicts, Welsh's stories show how the literary and philosophical tradition linking drug use and mysticism refuses to die; in effect, his work revitalizes the ideas of de Quincey, Huxley, Leary and others, reshaping them for the consumerist age while never being uncritical of house culture or the illicit drug scene. Like Derrida in “The Rhetoric of Drugs”, Welsh seeks a position on the issue that avoids the oversimplifications of much pro- and anti-drug rhetoric. Welsh's work is as much about consumerism and spirituality as about drugs, and his exploration of the subject positions of MDMA users is bound up with a dual critique of late capitalism and house culture that exposes the problematic connexions between them. His work shows, for instance, that Ecstasy does not offer an escape from the cash nexus: it is, is in many ways, just another consumer product tied to the leisure industry. While Ecstasy can initiate a new spiritual awareness in some users, this is best sustained by distancing oneself from the “chaos” of hedonistic excess and reducing the frequency of MDMA use. I conclude that Welsh is not so much an apologist for dangerous illegal drugs as an intelligent critic of consumerism.