One of the most essential works on the 1960s counterculture, Tom Wolfe's The Electric Kool-Aid Test is the seminal work on the hippie culture, a report on what it was like to follow along with Ken Kesey and the Merry Pranksters as they launched out on the "Transcontinental Bus Tour" from the West Coast to New York, all the while introducing acid (then legal) to hundreds of like-minded folks, staging impromptu jam sessions, dodging the Feds, and meeting some of the most revolutionary figures of the day.
A big, panoramic story of the new America, as told by our master chronicler of the way we live now. As a police launch speeds across Miami's Biscayne Bay -- with officer Nestor Camacho on board -- Tom Wolfe is off and running. Into the feverous landscape of the city, he introduces the Cuban mayor, the black police chief, a wanna-go-muckraking young journalist and his Yale-marinated editor; an Anglo sex-addiction psychiatrist and his Latina nurse by day, loin lock by night-until lately, the love of Nestor's life; a refined, and oh-so-light-skinned young woman from Haiti and her Creole-spouting, black-gang-banger-stylin' little brother; a billionaire porn addict, crack dealers in the 'hoods, "de-skilled" conceptual artists at the Miami Art Basel Fair, "spectators" at the annual Biscayne Bay regatta looking only for that night's orgy, yenta-heavy ex-New Yorkers at an "Active Adult" condo, and a nest of shady Russians. Based on the same sort of detailed, on-scene, high-energy reporting that powered Tom Wolfe's previous bestselling novels, Back to Blood is another brilliant, spot-on, scrupulous, and often hilarious reckoning with our times.
Only yesterday boys and girls spoke of embracing and kissing (necking) as getting to first base. Second base was deep kissing, plus groping and fondling this and that. Third base was oral sex. Home plate was going all the way. That was yesterday. Here in the Year 2000 we can forget about necking. Today's girls and boys have never heard of anything that dainty. Today first base is deep kissing, now known as tonsil hockey, plus groping and fondling this and that. Second base is oral sex. Third base is going all the way. Home plate is being introduced by name. And how rarely our hooked-up boys and girls are introduced by name!-as Tom Wolfe has discovered from a survey of girls' File-o-Fax diaries, to cite but one of Hooking Up's displays of his famed reporting prowess. Wolfe ranges from coast to coast chronicling everything from the sexual manners and mores of teenagers... to fundamental changes in the way human beings now regard themselves thanks to the hot new field of genetics and neuroscience. . . to the inner workings of television's magazine-show sting operations. Printed here in its entirety is "Ambush at Fort Bragg," a novella about sting TV in which Wolfe prefigured with eerie accuracy three cases of scandal and betrayal that would soon explode in the press. A second piece of fiction, "U. R. Here," the story of a New York artist who triumphs precisely because of his total lack of talent, gives us a case history preparing us for Wolfe's forecast ("My Three Stooges," "The Invisible Artist") of radical changes about to sweep the arts in America. As an espresso after so much full-bodied twenty-first-century fare, we get a trip to Memory Mall. Reprinted here for the first time are Wolfe's two articles about The New Yorker magazine and its editor, William Shawn, which ignited one of the great firestorms of twentieth-century journalism. Wolfe's afterword about it all is in itself a delicious draught of an intoxicating era, the Twistin' Sixties. In sum, here is Tom Wolfe at the height of his powers as reporter, novelist, sociologist, memoirist, and-to paraphrase what Balzac called himself-the very secretary of American society in the 21st century.
Tom Wolfe at his very best" (The New York Times Book Review), The Right Stuff is the basis for the 1983 Oscar Award-winning film of the same name and the 8-part Disney+ TV mini-series. From "America's nerviest journalist" (Newsweek)--a breath-taking epic, a magnificent adventure story, and an investigation into the true heroism and courage of the first Americans to conquer space. " Millions of words have poured forth about man's trip to the moon, but until now few people have had a sense of the most engrossing side of the adventure; namely, what went on in the minds of the astronauts themselves - in space, on the moon, and even during certain odysseys on earth. It is this, the inner life of the astronauts, that Tom Wolfe describes with his almost uncanny empathetic powers, that made The Right Stuff a classic.
The Bonfire of the Vanities defined an era--and established Tom Wolfe as our prime fictional chronicler of America at its most outrageous and alive. With A Man in Full, the time the setting is Atlanta, Georgia--a racially mixed late-century boomtown full of fresh wealth, avid speculators, and worldly-wise politicians. Big men. Big money. Big games. Big libidos. Big trouble. The protagonist is Charles Croker, once a college football star, now a late-middle-aged Atlanta real-estate entrepreneur turned conglomerate king, whose expansionist ambitions and outsize ego have at last hit up against reality. Charlie has a 28,000-acre quail-shooting plantation, a young and demanding second wife--and a half-empty office tower with a staggering load of debt. When star running back Fareek Fanon--the pride of one of Atlanta's grimmest slums--is accused of raping an Atlanta blueblood's daughter, the city's delicate racial balance is shattered overnight. Networks of illegal Asian immigrants crisscrossing the continent, daily life behind bars, shady real-estate syndicates, cast-off first wives of the corporate elite, the racially charged politics of college sports--Wolfe shows us the disparate worlds of contemporary America with all the verve, wit, and insight that have made him our most phenomenal, most admired contemporary novelist. A Man in Full is a 1998 National Book Award Finalist for Fiction.
A sprawling collection of essays about the subcultures of the 1960s by Tom Wolfe, the revolutionary journalist and novelist When Tom Wolfe smashed his way onto the literary scene in 1965 with The Kandy-Kolored Tangerine-Flake Streamline Baby, he transformed reporting in American popular culture. For his next project, Wolfe traveled from La Jolla to London in search of new lifestyles. The result is The Pump House Gang (published simultaneously with The Electric Kool-Aid Acid Test in 1968): a collection of essays that chronicles life at the end of the 1960s, written with all the panache and perceptiveness that made Wolfe one of our greatest American journalists. Running throughout The Pump House Gang is a central theme of Wolfe’s writing: status. In pieces about Hugh Hefner, Natalie Wood, and a gang of affluent teenage surfers, among others, Wolfe discusses the 1960s phenomenon of retreating from conventional social hierarchies, which he calls “starting your own league.” Dancers, motorcyclists, lumpen-dandies, and stay-at-homes—everybody’s doing it. Except for die-hards in the crumbling old social worlds of New York and London, where the confusion is so great that nobody can tell whether this is really the path to the top they’ve taken or just the service elevator. Dazzlingly brilliant as a stylist, daringly provocative as a commentator, and always entertaining, in The Pump House Gang, Wolfe is thoroughly, completely himself.
The maestro storyteller and reporter provocatively argues that what we think we know about speech and human evolution is wrong. Tom Wolfe, whose legend began in journalism, takes us on an eye-opening journey that is sure to arouse widespread debate. The Kingdom of Speech is a captivating, paradigm-shifting argument that speech -- not evolution -- is responsible for humanity's complex societies and achievements. From Alfred Russel Wallace, the Englishman who beat Darwin to the theory of natural selection but later renounced it, and through the controversial work of modern-day anthropologist Daniel Everett, who defies the current wisdom that language is hard-wired in humans, Wolfe examines the solemn, long-faced, laugh-out-loud zig-zags of Darwinism, old and Neo, and finds it irrelevant here in the Kingdom of Speech.
Please note: This is a companion version & not the original book. Sample Book Insights: #1 The city of San Francisco is bouncing down the hill, and thousands of people are looking at the crazed truck that is carrying Kesey and his friends. They are terrified of the law, and they are sitting up in plain view of thousands of already startled citizens. #2 I knew little about Kesey at the time, other than that he was a highly regarded 31-year-old novelist and in a lot of trouble over drugs. He wrote One Flew Over the Cuckoo’s Nest in 1962, which was made into a play in 1963. He was always included with Philip Roth and Joseph Heller and Bruce Jay Friedman as one of the young novelists who might go all the way. #3 I began asking around about where I could find Young Novelist Real-Life Fugitive. Everyone I talked to knew for certain that he was in Puerto Vallarta. I flew to San Francisco and went to the San Mateo County jail, where I met with a waiting room full of cheerful anticipation. #4 I was allowed to visit Kesey in jail. He was standing up with his arms folded over his chest and his eyes focused on the wall. He had a big neck and massive jaws. He looked like Paul Newman except that he was more muscular and had thicker skin.
"An excellent book by a genius," said Kurt Vonnegut, Jr., of this now classic exploration of the 1960s from the founder of new journalism. "This is a book that will be a sharp pleasure to reread years from now, when it will bring back, like a falcon in the sky of memory, a whole world that is currently jetting and jazzing its way somewhere or other."--Newsweek In his first book, The Kandy-Kolored Tangerine-Flake Streamline Baby (1965) Wolfe introduces us to the sixties, to extravagant new styles of life that had nothing to do with the "elite" culture of the past.
"America's nerviest journalist" (Newsweek) trains his satirical eye on Modern Art in this "masterpiece" (The Washington Post) Wolfe's style has never been more dazzling, his wit never more keen. He addresses the scope of Modern Art, from its founding days as Abstract Expressionism through its transformations to Pop, Op, Minimal, and Conceptual. The Painted Word is Tom Wolfe "at his most clever, amusing, and irreverent" (San Francisco Chronicle).
