Tag: American Literature

Tom Wolfe, The Electric Kool-Aid Acid Test

Wolfe, Tom. The Electric Kool-Aid Acid Test. Picador, 1968.

Summary of Work

Tom Wolfe documents the lives of the Merry Pranksters, the group of acid-tripping hippies who drove around the nation in a Day-Glo covered bus with Ken Kesey, the author of One Flew Over the Cuckoo’s Nest. The group forms around Kesey as they start using LSD to have transcendent experiences, a drug he had on hand from volunteering as a test subject in a study at a college and from working at the mental hospital for a time while he wrote his first book. However, upon the announcement of the destruction of the neighborhood he is living in, he moves to La Honda, California, where a group of people, later known as the Merry Pranksters, follow him. They all live in the same home, spread out on the land and in the woods, and each work on their own projects. But two things bring them together: LSD and sound. Taking after William Burroughs’ ideas, they decide to wire everything up with both microphones and speakers and record all of it. They play back the sound by splicing it and speaking over it, as well as gathering any and all sound they can. When they decide that they’d also like to make a grand movie to cover their experiences on LSD, they take it one step further. Kesey buys a bus, which they paint in various Day-Glo colors. They completely gut the bus and remodel it to be a road-trip vehicle for them, and they wire it for sound inside and out so that they can play music, broadcast sound, and record while they are on their trip. Neal Cassady is the driver of the bus, and they take off across the country, doing acid at various points along the way and filming the acid trips.

As they start to become noticed across the country (LSD was not yet illegal), Kesey becomes a main face of the counterculture movement, and they start to come in contact with people such as the Grateful Dead and Hells Angels, and the relationships and associations help all groups they come in contact with gain more prominence. Kesey writes one more novel but then gives up writing and focuses on making acid tests catch on for the public. He and the Merry Pranksters host many different acid tests in California, fooling the cops along the way. They even attend a Beatles concert ridiculously high on LSD and don’t get caught for it. They watch the crowd and see how enthralled they are by the Beatles and the control the Beatles have over the crowd but do not use for anything outside of the music or money-making business itself, and Kesey and the group leave back to their bus to make noise on their microphones and tapes. They host a big party for the Beatles, who never show up.

When they do finally get in trouble for something, it is for possession and use of marijuana. The first time the sentencing is lighter, but the next time Kesey is caught with it, he knows that it will be a prison sentence. So he runs away to Mexico, becoming more and more paranoid that the cops are after him and he is going to be extradited. The Pranksters make their way down to Mexico and stay with him for a time, and then help him get back across the border, where he spends some time in California before he is caught and thrown in jail. He avoids sentencing by saying that he would like to tell people that they need to go “beyond acid.” The authorities, thinking that he means that he will tell everyone to stop doing acid and talk about the dangers of it, give him a light sentence and ask him to go on public television to make his statement. But when he goes public with his statement, he never outright declares acid to be a bad influence or as having negatives. He simply says that once you go through the door that acid opens up, you have to take more steps rather than just keep opening and closing the same door.

Kesey and the Pranksters host one more “Acid Graduation” event, where they show that the next step is trying to achieve the transcendence they experience on LSD without the mind-altering drugs. Many news crews, journalists, and others show up to document the event, but leave before it ends, unable to understand what is going on.

The Pranksters themselves aren’t sure that they understand what Kesey’s new goals and direction are, and eventually, one by one, the group members go their own separate ways. Kesey serves his time in work camps in California while his family lives in Oregon. The movie never gets finished, although during the whole time the Pranksters are active people are cutting it and editing it and shooting more film. The film, writings, and sound recordings that are in the Prankster archive are what Wolfe used to piece together the biographical, very subjective narrative that is the book.

 

Brief Note on Themes

This work is a prime example of New Journalism, and it is considered a great representation of the counterculture of the Beat Generation in the 1950s and 1960s. Sound and music plays a large part in this book, making it great for sound studies considerations. Pseudo-religious activity is also a major part of the work, as the Pranksters nearly worship Kesey as the new Messiah, with the Pranksters as the apostles, and they utilize LSD trips to have essentially religious experiences. Drug use is a major theme, particularly acid use. Intersubjectivity is prominent in the work, and focuses on the idea that people can enter into a space where they know what it’s like to be someone else and achieve the ability to think and act as a group. For counterculture, the work focuses on the differences between what others were doing at that time, which was largely unknown, and what the Pranksters were doing, which was bringing the alternate lifestyle to the public eye rather than keeping it underground.

 

Questions about the Work

  1. In this book, we see clearly the obsession that the Pranksters have with mixed media content in conjunction with their acid trips. Claire, a young and naive girl who shows up to an Acid Test event in Watts, states in her account that before she, unawares, dosed herself with LSD, she didn’t understand what was going on: “This may explain why a lot of people were digging the film, laughing, and also why a lot of people were there . . . I’m sure that I was one of a minority who had no idea what to expect. The word must have been passed, but didn’t get to me” (272). After ingesting the LSD, Claire’s perspective of the film and sounds changes from simply odd nonsense to an otherworldly environment. This got me wondering, what is it about sound, lag, and reverb that create situations that seem otherworldly or out of place? What is the purpose of the acid trips and the sound and image manipulation beyond the vague notion of expanding understanding or knowledge?
  2. Tom Wolfe describes his process as one that tries to encompass the full Prankster experience: the drugs, the pranks, the adventures, and the recordings. He states, “The Pranksters recorded much of their own history in the Prankster Archives in the form of tapes, diaries, letters, photographs and the 40-hour movie of the bus trip” (415). How does having so many recordings of people change the way we approach writing a nonfiction work, and when is it useful to stray away from transcription and become more subjective, as Wolfe suggests that he does throughout the work?
  3. Geographically speaking, the many of the acid tests are done in largely black communities (see the houses they rent/use, geographical areas like Compton). What is problematic about the image the Pranksters and other whites have created around these black communities?

 

by bluesyjune

Ray Bradbury, Fahrenheit 451

Bradbury, Ray. Fahrenheit 451. 1953. Del Rey, 1991.

Summary of Work
Fahrenheit 451 starts with Guy Montag coming home from work and meeting a girl, Clarisse, who is odd. She looks at people, she asks questions about the people she meets, and makes actual conversation about her surroundings and others’ lives as well as her own. It is so strange to Montag, but as he gets used to it, he looks forward to the conversation. When he comes to his house and in his bedroom, however, he finds his wife overdosed on sleeping pills, which means he has to call the emergency services to have her stomach pumped and blood cleaned. She doesn’t remember it the next morning, or at least pretends not to remember.

Guy Montag is a fireman, a man who burns books when they are found in people’s homes. Reading books is forbidden, and the firemen are in place to make sure that the books are burned, and sometimes the people with them. This happens on a job, where the woman with the books actually sets herself, and her books, afire. Montag saves a book from the pyre and sneaks it home. He is sick with the image of the burning woman. He later learns that his friend Clarisse was hit by a car and killed. It further destroys him. He misses work the next day, and his boss shows up to talk to him. After his boss explains the history of the firemen and why books are banned (the minorities and other people didn’t like that it caused people to disagree and argue about things that were best left to other, governmental figures), he tells Montag he knows that he’s taken a book, which happens sometimes, but that the goal is to look through it and then burn it if Montag values his job and life. So Montag reveals to his wife, who is a TV obsessed woman interested in spending all her time staring at the three TV screen walls on the parlor room walls, that he’s been stealing books over the last year and has twenty of them. He forces her to read them with him, and then realizes that he knows someone, a professor he met in the park, who will know what to do with the Bible, the book he stole from the woman’s home collection. He goes to Professor Faber, and they talk about the downfall of intellectuals and how many of them are living in hiding on the railroad tracks in the country.

Montag comes up with a plan to bring the system down, but fails because he gets angry at his wife’s friends and reads them poetry aloud. His wife and the women call the firemen on him. Of course, he doesn’t realize this, and goes to work, where he is forced to go back to his house and burn it with all the books in it. Afterward, when Beatty tries to take him to jail, Montag burns Beatty alive and then fights off the mechanical hound that tries to subdue him with injected chemicals. He escapes to the country right before the war officially starts, and as he is spending time with intellectuals in the country and they tell him that they have memorized books, all of them, and so they can recite the great works from history to people when they’re ready for literature again, the city of Chicago is bombed to the ground, leaving no survivors. The intellectuals talk about how now may be the time to help, and they head toward spaces they think may contain survivors. The big idea they want to drive home in themselves, though, is that they are not more important than anyone else because they contain that knowledge. They are simply knowledge receptacles, and the knowledge is important so that it can be shared with others.

 

Brief Note on Themes
The big themes of this novel are about how we deal with knowledge, particularly written knowledge, and what it does for people. There is also a theme about how technology changes information and often destroys its beauty and meaning in an attempt to make it more bite-sized and digestible. The dangers of having knowledge is also a big theme in the novel: what happens when we don’t do anything with the knowledge we have, act in the wrong way, or consider ourselves better than others because we have the knowledge? The work makes us consider the power of the written word and helps us to understand the different ways technology changes the way we transmit knowledge and consume knowledge, and ultimately, how people are the ones who decide how that technology changes culture, not the technology itself.

by bluesyjune

James Baldwin, Notes of a Native Son

Baldwin, James. Notes of a Native Son. 1955. Beacon P, 1957.

Summary of Work
Baldwin’s memoirs detail what it means to be black in America, and outside of it, and how black people form their identities, particularly how American black people form their identities in a space that has denied them access to their past. Further, he discusses how black-white relations work in America, and how they are based off of a mythos that is largely theological: blackness is associated with the devil or evil in Christianity, and the Christian image of goodness is all clothed in white; we know if a person is good and has made it to heaven if they are robed in white upon their appearance in our vision. In a theology of whiteness, black people are forced to either find a different identity, or far more likely and as we see has happened, forced to believe that they are sub-human or non-human because of their blackness, and they accept that role, even if unwillingly, in American white society. This identity and struggle to be recognized as a human being is documented in American protest literature such as Uncle Tom’s Cabin, which Baldwin asserts is a terrible novel inasmuch as it should be a pamphlet for the type of material it uses, and that Gone With the Wind and other such novels capitalize on this idea of the beauties and tragedies of slave labor—all of which surround black bodies and their identities, which have mostly and largely been forced upon them as objects to be pitied, liberated by well-meaning white people. Of course, this liberation is good, but it still does not rid white people of their understanding that black people are somehow subhuman or lower than they are.

This mythology, woven throughout the American history books and fiction works, extends into film and other mediums of artistic representation, indicative of the underpinning moral beliefs of American society regarding race relations. We can see this in Richard Wright’s famous work Native Son, which gives people a picture of black rage because of this lack of identity, certainly, but also gives us the expected social redemption of Bigger Thomas, something that in Baldwin’s view, robs the novel of much of its power, regardless of its successes. And when all of this history and culture and moral belief is brought by black people over to France and other parts of Europe, they try to deny the identity, because it is just as uncomfortable in Europe as in America. But in Europe, they feel for a time they can escape it. The outright racism and hatred of black people is missing in Europe. However, they quickly come to understand that the derision they experience in America exists in Europe, just in different places, and that they cannot escape their identity as black Americans. The space itself requires them to recognize their unique situation: they are free from the outright racism of Jim Crow, but they cannot identify with the cultures of Europe, and Europeans simply have no understanding of what it means to be black in America or to have experienced that type of race relation. The uniqueness of American life is that black and white races are tied together to learn how to live with each other, and regardless of the white supremacy and the racism, that learning to live with each other, however rife with turmoil, is unique to the whole of the world. Other white countries colonized and left black people in their own country; America brought them in. Knowing that the identity of America, both black and white, rests on this identity and history, should be a step to recognizing a path forward, and to recognizing that the ideal of no racism is simply a dream, but not one that should be discarded.

Brief Note on Themes
The themes of racism, racial identity, and white-black relations run throughout this work. Understanding the mythologies and morals that created racial identity in America is also a huge theme, even when Baldwin is discussing his time in France and Switzerland. Coming to understand what it means to be black in America, and outside of it as a black American, is central to Baldwin’s memoir.

by bluesyjune

C.D. Wright, One Big Self

Wright, C.D. One Big Self. Copper Canyon P., 2007.

Summary of Work
C.D. Wright’s “One Big Self” explores the lives of people in three different prisons in Louisiana. Wright suggests that when we look at all the prisons in America—and the prison population, which is the largest in the world—we are looking in a mirror at America’s values and legacy. What makes up the prison population outside of the numbers and the listed crime or law broken? Invited by her colleague and friend to go to learn about the inmates while her friend is taking pictures of the prison inmates for a larger project, Wright sets out to learn about the inmates and their lives, both before prison, during their crimes and trials, and life in prison. She also contemplates what prisons do to the environments and communities they inhabit. She shows that these inmates are more than just numbers, they are people who have dealt with many difficult circumstances: poverty, difficult family situations, poor education and no job opportunities available, relationship woes, and more.

One of the main things I noticed highlighted was the difference in experience for men and women in prison. There was a large focus on women in context of their children, children they have before they go to prison, children they have while in prison, and what happens to their relationships with their children; there is even a poem describing the process of getting ready for an Easter party with the children in the main area of the prison. With the men, the focus is much more on their experiences in prison or getting to prison rather than on families. When children are mentioned, it is in context of the ages that they meet and where the children end up, usually in prison like their fathers.

 

Brief Note on Themes
The overarching theme of the work is incarceration; how does the American prison system function? Who are the people in the system? Since the makeup of the majority of the population is black males and black people overall, what does that say about who we incarcerate or crime? How does the prison system affect the communities in which they are built? How does it save or ruin city economies? What are the reasons people invest in such systems, especially private prison systems, and how does having prison on the stock market change the system as people view it, use it, and strive for its expansion and continuation? Wright’s work largely reflects upon what it means to look at people solely for their crimes when they are much more than that, and what that says about the American justice and incarceration system.

 

Brief Note on Poetic Structure
Written in a free form, the work is a mix of what would seem like prose, followed by poetry that utilizes caesura, line breaks, and plenty of white space to cue readers to changes in scene, narrator, situation, and discussion. The structure takes a minimalist attitude, where the situations are given in pieces rather than as one continuous narrative. The breaks in narrative and the mix of prisoners names, only ever briefly mentioned, give a sense of “everyman” for the prisoners, rendering both their invisibility and individuality clear to the reader. Certain phrases or poetic repetitive structures, such as the “Count the . . .” poems which are brought back within other poems, work to remind readers of the controlling situation in which the prisoners live.

by bluesyjune

Reading List: 20th Century American Literature

Fiction

  1. Autobiography of an Ex-Colored Man 1912            James Weldon Johnson
  2. Winesburg Ohio 1919                                                 Sherwood Anderson
  3. The Great Gatsby 1925                                                Scott Fitzgerald
  4. The Sound and the Fury 1929                                    William Faulkner
  5. Passing 1929                                                                 Nella Larsen
  6. Mules and Men 1935                                                    Zora Neale Hurston
  7. Absalom, Absalom! 1936                                            William Faulkner
  8. Their Eyes Were Watching God 1937                        Zora Neale Hurston
  9. Of Mice and Men 1937                                                 John Steinbeck
  10. The 42nd Parallel 1938                                                John Dos Passos
  11. Native Son 1940                                                            Richard Wright
  12. Invisible Man 1952                                                       Ralph Ellison
  13. Fahrenheit 451 1953                                                     Ray Bradbury
  14. Go Tell It On The Mountain 1953                                James Baldwin
  15. The Lost Steps 1953                                                       Alejo Carpentier                       
  16. The Man in High Castle 1962                                       Phillip K. Dick
  17. One Hundred Years of Solitude 1967                          Gabriel Garcia Marquez
  18. Sula 1973                                                                         Toni Morrison
  19. Song of Solomon 1977                                                   Toni Morrison
  20. Wild Seed 1980                                                               Octavia Butler
  21. The Color Purple 1982                                                   Alice Walker
  22. Deadeye Dick 1982                                                         Kurt Vonnegut
  23. The Terrible Twos 1982                                                 Ishmael Reed
  24. The Things They Carried 1990                                     Tim O’Brien
  25. The Brief Wondrous Life of Oscar Wao 2007             Junot Diaz
  26. The Sympathizer 2015                                                   Viet Thanh Nguyen
  27. The Underground Railroad 2016                                 Colson Whitehead
  28. Future Home of the Living God: A Novel 2017          Louise Eldrich

 

 

Poetry

  1. Collected Poetry                                                             Maya Angelou
  2. The Collected Poems of Langston Hughes                Langston Hughes
    (Vintage Classics)
  3. One Big Self                                                                     D. Wright
  4. “The Book of the Dead”                                                 Muriel Rukeyser
  5. “The Love Song of J. Alfred Prufrock”                         S. Eliot
  6. Cane                                                                                   Jean Toomer
  7. Selections from “A”: 1, 2, 3,                                             Louis Zukofsky
    6, 7, 8, 11, 12
  8. “Preface to a Twenty Volume Suicide Note”              Amiri Baraka
    “Legacy”
  9. Thrall                                                                                  Natasha Tretheway
  10. Citizen                                                                                Claudia Rankine

 

 

NonFiction

  1. The Big Sea                                                            Langston Hughes
  2. I Know Why The Caged Bird Sings                    Maya Angelou
  3. The Souls of Black Folk                                       W.E.B. Du Bois
  4. Notes of a Native Son                                           James Baldwin
  5. Silent Spring                                                         Rachel Carson
  6. The Electric Kool Aid Acid Test                          Tom Wolfe
  7. The Autobiography of Malcolm X                      Malcolm X
  8. Between the World and Me                                 Ta-Nehisi Coates

 

Drama 

  1. Fences                                                                     August Wilson
  2. The Death of a Salesman                                     Arthur Miller
  3. A Streetcar Named Desire                                   Tennessee Williams
  4. Angels in America                                                 Tony Kushner
  5. A Raisin In The Sun                                               Lorraine Hansbury
  6. Topdog/Underdog                                                  Suzan-Lori Parks

 

Short Stories 

  1. “Hills Like White Elephants”                               Ernest Hemingway
  2. “The Lottery”                                                          Shirley Jackson
  3. “A Good Man Is Hard to Find”                            Flannery O’Connor
  4. “Judgement Day”                                                   Flannery O’Connor
  5. “Sonny’s Blues”                                                      James Baldwin
  6. “Everyday Use”                                                      Alice Walker
  7. “A&P”                                                                        John Updike
  8. “Where Are You Going, Where Have You Been?” Joyce Carol Oates
  9. “Two Kinds”                                                            Amy Tan
  10. “Eyes of Zapata”                                                     Sandra Cisneros
  11. “Barn Burning”                                                      William Faulkner
  12. “Girl”                                                                         Jamaica Kincaid
  13. “How To Tame a Wild Tongue”                          Gloria Anzaldúa

 

Criticism and Theory

  1. Poetry and the Age                                                 Randall Jarrell
  2. The American Novel and Its Tradition               Richard Chase
  3. Selections from A New Literary                          Greil Marcus and Werner Sollors
    History of America
    “The problem of the color line”
    “The invention of the blues”
    “‘Alexander’s Ragtime Band’”
    “A modernist moment”
    “Mamie Smith’s ‘Crazy Blues’”
    “Jean Toomer”
    “T.S. Eliot and D.H. Lawrence”
    “The Great Gatsby”
    “John Dos Passos”
    “Arthur Miller”
    “Gone with the Wind and Absalom, Absalom!”
    “Jelly Roll Morton speaks”
    “Billie Holiday, ‘Strange Fruit’”
    “Up from invisibility”
    “Tennessee Williams”
    “‘The Birth of the Cool’”
    “The Autobiography of Malcolm X”
    “Maya Angelou, Toni Morrison, Alice Walker”
    “Toni Morrison”

4. The American Short Story 1900-1945: A Critical History                        Philip Stevick

5. The Cambridge Introduction to the American Short Story (Cambridge Introductions to Literature)

6. Selections from Columbia Literary History of the United States           Emory Elliott
Part 4: 1910 – 1945
Part 5: 1945 to the Present

by bluesyjune

Meeting My Goals: Planning, Intention, and Follow-Through

I’ve wanted a PhD since I was eight years old. Eight-year-old me would in fact be disappointed that I am 27 and still in the process of obtaining a PhD, and I should have had those three letters after my name by age 25. But here I am, better late than never. I’m getting to study what I’m interested in, and I enjoy what I get to write about. Part of this journey, which I intend to enjoy as much as possible, is reading the important works in my field to become an expert.

My goal for the next four months will be to prepare to take my comprehensive exams. As I am getting my PhD in English, I will need to take three comprehensive exams: one on a century of literature, one on a genre (e.g. novel, short story, poetry, essay, etc), and one on either a special topic, author, or another century. I’ve chosen for my comprehensive exam lists to cover twentieth century American literature, the novel, and my dissertation topic—performance in twentieth century African American literature and culture.

As soon as I finalize my lists with my advisor, I’ll post my lists here and start reading. In order to be done with reading all the books on my lists (which are quite large) in a timely manner, I’m going to have to plan, and follow up with myself and have some accountability. To build notes for study and to keep myself accountable, I’ll to regularly update this section of my website with brief summaries and talking points for each of the works on my reading lists. And by regularly, that is at least weekly; many weeks it will be updated daily.

If you’re following along, I hope that my brief summaries, talking points, and occasional commentary on the works will encourage you to read some of the works I’ve chosen for my lists and expertise. I’ll organize my entries by list, subject matter, and critical discussion points. As I go, feel free to peruse and engage if you like.

Here’s to the next four months and beyond!

by bluesyjune