Tom Wolfe's The Electric Kool-Aid Acid Test ushered in an era of New Journalism. "An American classic" (Newsweek) that defined a generation. "An astonishing book" (The New York Times Book Review) and an unflinching portrait of Ken Kesey, his Merry Pranksters, LSD, and the 1960s.
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Between Fiction and the Greater Truth Representation and Reality in Tom Wolfe s The Electric Kool Aid Acid Test
- Author : Marc Regler
- Publisher : GRIN Verlag
- Release Date : 2007-07
- Genre : Uncategorized
- Pages : 60
- ISBN : 9783638648424
Seminar paper from the year 2004 in the subject American Studies - Literature, grade: A+, Victoria University of Wellington (School of English, Film and Theatre der Faculty of Humanities and Social Science), course: ENGL439 - Journalism And Literature, language: English, abstract: A close reading of Tome Wolfe's The Electric Kool-Aid Acid Test considering Wolfe's concept of New Journalism as a form of writing between the novel and journalism.
More than 150 years after its original publication, Bartlett's Familiar Quotations has been completely revised and updated for its eighteenth edition. Bartlett's showcases a sweeping survey of world history, from the times of ancient Egyptians to present day. New authors include Warren Buffett, the Dalai Lama, Bill Gates, David Foster Wallace, Emily Post, Steve Jobs, Jimi Hendrix, Paul Krugman, Hunter S. Thompson, Jon Stewart, Elizabeth Kubler-Ross, Barack Obama, Che Guevara, Randy Pausch, Desmond Tutu, Julia Child, Fran Leibowitz, Harper Lee, Nassim Nicholas Taleb, Patti Smith, William F. Buckley, and Robert F. Kennedy. In the classic Bartlett's tradition, the book offers readers and scholars alike a vast, stunning representation of those words that have influenced and molded our language and culture.
From the literary wonder boy to the countercultural guru whose cross-country bus trip inspired The Electric Kool-Aid Acid Test, this candid biography chronicles the life and times of cultural icon Ken Kesey from the 1960s through the 1980s. Presenting an incisive analysis of the author who described himself as "too young to be a beatnik, and too old to be a hippie," this account conducts a mesmerizing journey from the perspective of Mark Christensen, an eventual member of the Kesey "flock." Featuring interviews with those within his inner circle, this exploration reveals the bestselling author of One Flew Over the Cuckoo's Nest in his many forms, placing him within the framework of his time, his generation, and the zeitgeist of the psychedelic era.
Site Reading offers a new method of literary and cultural interpretation and a new theory of narrative setting by examining five sites—supermarkets, dumps, roads, ruins, and asylums—that have been crucial to American literature and visual art since the mid-twentieth century. Against the traditional understanding of setting as a static background for narrative action and character development, David Alworth argues that sites figure in novels as social agents. Engaging a wide range of social and cultural theorists, especially Bruno Latour and Erving Goffman, Site Reading examines how the literary figuration of real, material environments reorients our sense of social relations. To read the sites of fiction, Alworth demonstrates, is to reveal literature as a profound sociological resource, one that simultaneously models and theorizes collective life. Each chapter identifies a particular site as a point of contact for writers and artists—the supermarket for Don DeLillo and Andy Warhol; the dump for William Burroughs and Mierle Laderman Ukeles; the road for Jack Kerouac, Joan Didion, and John Chamberlain; the ruin for Thomas Pynchon and Robert Smithson; and the asylum for Ralph Ellison, Gordon Parks, and Jeff Wall—and shows how this site mediates complex interactions among humans and nonhumans. The result is an interdisciplinary study of American culture that brings together literature, visual art, and social theory to develop a new sociology of literature that emphasizes the sociology in literature.
"This volume is an effort to provide ratioinales for the use of a group of controversial books in American public schools"--Introd.
An exploration of corruption in governmental agencies.
This book is another one of those late-night Grateful Dead inspired dorm room conversations with friends . . . only this time it’s your professors sitting cross-legged on the floor asking if anyone else wants to order a pizza. The Grateful Dead emerged from the San Francisco counter-culture movement of the late 1960s to become an American icon. Part of the reason they remain an institution four decades later is that they and their fans, the Deadheads, embody deviation from social, artistic, and industry norms. From the beginning, the Grateful Dead has represented rethinking what we do and how we do it. Their long, free-form jams stood in stark contrast to the three minute, radio friendly, formulaic rock that preceded them. Allowing their fans to tape and trade recordings of shows and distributing concert tickets themselves bucked the corporate control of popular music. The use of mind-altering chemicals questioned the nature of consciousness and reality. The practice of “touring,” following the band from city to city, living as modern day nomads presented a model distinct from the work-a-day option assumed by most in our corporate dominated culture. As a result, Deadheads are a quite introspective lot. The Grateful Dead and Philosophy contains essays from twenty professional philosophers whose love of the music and scene have led them to reflect on different philosophical questions that arise from the enigma that is the Grateful Dead. Coming from a variety of perspectives, ancient and modern, Eastern and Western, The Grateful Dead and Philosophy considers how the Grateful Dead fits into the broader trends of American thought running through pragmatism and the Beat poets, how the parking lot scene with its tie-dyed t-shirt and veggie burrito vendors was both a rejection and embrace of capitalism, and whether Jerry Garcia and the Buddha were more than just a couple of fat guys talking about peace. The lyrics of the Grateful Dead’s many songs are also the basis
Ken Kesey (1935–2001) is the author of several works of well-known fiction and other hard-to-classify material. His debut novel, One Flew Over the Cuckoo’s Nest, was a critical and commercial sensation that was followed soon after by his most substantial and ambitious book, Sometimes a Great Notion. His other books, including Demon Box, Sailor Song, and two children’s books, appeared amidst a life of astounding influence. He is maybe best known for his role as the charismatic and proto-hippie leader of the West Coast LSD movement that sparked “The Sixties,” as iconically recounted in Tom Wolfe’s The Electric Kool-Aid Acid Test. In the introduction to “An Impolite Interview with Ken Kesey,” Paul Krassner writes, “For a man who says he doesn’t like to do interviews, Kesey certainly does a lot of them.” What’s most surprising about this statement is not the incongruity between disliking and doing interviews but the idea that Kesey could possibly have been less than enthusiastic about being the center of attention. After his two great triumphs, writing played a lesser role in Kesey’s life, but in thoughtful interviews he sometimes regrets the books that were sacrificed for the sake of his other pursuits. Interviews trace his arc through success, fame, prison, farming, and tragedy—the death of his son in a car accident profoundly altered his life. These conversations make clear Kesey’s central place in American culture and offer his enduring lesson that the freedom exists to create lives as wildly as can be imagined.
Author of The Right Stuff and other journalistic writings in a literary vein and the novel Bonfire of the Vanities, Tom Wolfe has been lauded and vilified by the critics for breaking down the barriers between fact and fiction, journalism and literature, and for his stylistic idiosyncrasies. Doug Shomette here collects from four to eight representative reviews and critical commentary on each of Wolfe's eleven major works. A judicious introduction summarizes these fifty-four pieces as well as other notable critical reactions not reprinted. Also included is a chronology of important events in Wolfe's career, a bibliography of additional readings, and an index.
Historical and international in scope, a unique anthology traces the course of literary journalism and nonfiction prose from its origins in the eighteenth century to today, from Daniel Defoe to Joseph Mitchell to Richard Ben Cramer. 15,000 first printing.
Gathers excerpts from critical articles written about twentieth century literature, and provides background information on the author being considered
Part of the “Longman Topics” reader series, The Counterculture Reader provides a fascinating look at American culture in the 60's. This brief collection of readings presents an engaging and informed overview of the counterculture movement, challenging students to understand “what happened and why.” Featuring writings from the Beats, the literary counterculture, feminists, gays, and rock musicians, the themes discussed include: the women's movement; black power; and gay pride. Divided into seven parts, each features five or more essays of varying lengths. Brief apparatus helps students read and write more thoughtfully about the idea of counterculture and think critically about its effects on contemporary culture. “Longman Topics” are brief, attractive readers on a single complex, but compelling, topic. Featuring about 30 full-length selections, these volumes are generally half the size and half the cost of standard composition readers.
Provides an introduction to the major authors of Beat literature and a critical appraisel of their most significant works.