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.
Amerika in den frühen Sechzigerjahren: LSD-Experimente, San Francisco, Blumenkinder. Und eine Busreise, wie es sie nie zuvor gegeben hat und nie mehr geben wird. 1968 beschrieb Tom Wolfe die Reise von Ken Kesey und seinen „Merry Pranksters“ in seinem legendären Klassiker. Ein Buch, welches längst als Neues Testament der Hipster-Mythologie gilt.
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.
Si dice che chi ricorda gli anni Sessanta non li ha veramente vissuti. Tom Wolfe non solo li ha vissuti, ma li ha anche saputi raccontare con acume e immediatezza: in questo memorabile e ormai classico reportage pubblicato nel 1968, uno dei più riusciti esempi di "new journalism", lo scrittore ripercorre il "Magical Mystery Tour" di Ken Kesey attraverso gli Stati Uniti, dalla California a New York a bordo del "Furthur", un bizzarro autobus dipinto in colori sgargianti guidato nientemeno che da Neal Cassady, reduce dall'epopea Beat. Tra una manifestazione contro la guerra in Vietnam e un arresto per possesso di marijuana, Kesey, autore di Qualcuno volò sul nido del cuculo, e i suoi Merry Pranksters, un eterogeneo gruppo di artisti, sperimentavano le potenzialità creative delle droghe organizzando festini a base di Lsd noti come Acid Test. Ma soprattutto fomentavano la rivoluzione, trascinando l'America su una via pericolosamente allegra. Taccuino in mano, Tom Wolfe gentilmente declinava l'offerta di Lsd e annotava, raccontando al mondo la nascita della controcultura hippy, dell'arte psichedelica, e di tutto ciò che ha fatto degli anni Sessanta un momento di eccezionale ispirazione.
Slovenia is acquiring some literary journalism written by Slovene journalists and writers. Author Sonja Merljak Zdovc suggests that more Slovene writers should prefer literary journalism because nonfiction is based on truth, facts, and data and appeals more to readers interested in real world stories. The honest, precise, profound, and sophisticated voice of literary journalism is becoming increasingly good for newspaper circulation, as it reaches not just the mind but also the heart of the reader. Thus, the world of Slovene journalism should also take a turn towards the stylized literary journalism seen in the United States. There, journalists and writers realize that through literary journalism they could perhaps end a general decline of traditional print media by restoring to readers stories that uncover the universal struggle of the human condition.
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.
While The Right Stuff and The Bonfire of the Vanities remain perhaps his best-known works, Tom Wolfe's journalism and fiction continues to enjoy a large audience, perhaps chiefly because of the variety of his subjects and his controversial approach to them. Here, McEneaney offers an account of the man and his works, explaining along the way Wolfe's use of irony, his obsessive themes, and even his use of pranks. More comprehensive in scope than any preceding book on Wolfe, it offers accurate and accessible commentary based upon what Wolfe admits about his own work. In this new book, Wolfe's work is put in journalistic and literary context. The reliability of Wolfe's journalism is discussed, especially when there are alternative narrations to events he has depicted. McEneaney also examines the Wolfe's use of pranks that he plays on readers at times, and uncovers the influences on Wolfe that have contributed to his unique style. Finally, the author discusses Wolfe's impact on other writers. Readers will gain access into Wolfe's world through this detailed and colorful work.
Arranged in chronological order, these pieces add up to nothing less than a full-scale history of the greatest tour band in the history of rock. From Tom Wolfe's account of the Dead's first performance as the Grateful Dead (at an Acid Test in 1965), to Ralph Gleason's 1967 interview with the 24-year-old Jerry Garcia, to Mary Eisenhart's obituary of the beloved leader of the band, these selections include not only outstanding writing on the band itself, but also superb pieces on music and pop culture generally. Fans will be fascinated by the poetry, fiction, drawings, and rare and revealing photographs featured in the book, as well as the anthology's many interviews and profiles, interpretations of lyrics, and concert and record reviews. Still, The Grateful Dead was more than a band--it was a cultural phenomenon. For three decades it remained on one unending tour, followed everywhere by a small army of nomadic fans. This phenomenon is both analyzed and celebrated here, in such pieces as Ed McClanahan's groundbreaking article in Playboy in 1972, fan-magazine editor Blair Jackson's 1990 essay on the seriousness of the drug situation at Dead concerts, and Steve Silberman's insightful essays on the music and its fans.