When I finished my second book, which followed the life course of women in the U.S. in the early 20th century, I was left with questions and some confusion about women’s sexuality in the period. Books and magazine articles at the time obsessively discussed young women and their sexual freedom. But young women’s journals, and the psychological literature showed that publicly, young women performed a heterosexual script, but privately, and emotionally, they often remained far more comfortable with other girls and young women. Slowly it became clear that the real sexual revolution of the 20th century was the triumph of heterosexual relations and norms during the 1920s until the 1940s.
This is a tour de force on the lives of girls and young women in the era of World War II and the 1950s.
Littauer makes use of non-traditional sources to show how young women negotiated a sexual landscape that was rapidly changing and which gave them more choices and often more control over their sexuality.
During the war years, young women found that the rapid mobilization and unsettled conditions near military bases gave them opportunities for sexual adventures that settle times would never allow.
And during the post-war, within the “going steady” practices of the time, women could become sexually active with some protection from social stigma.
In this innovative and revealing study of midcentury American sex and culture, Amanda Littauer traces the origins of the "sexual revolution" of the 1960s. She argues that sexual liberation was much more than a reaction to 1950s repression because it largely involved the mainstreaming of a counterculture already on the rise among girls and young women decades earlier. From World War II-era "victory girls" to teen lesbians in the 1940s and 1950s, these nonconforming women and girls navigated and resisted intense social and interpersonal pressures to fit existing mores, using the upheavals of the era to pursue new sexual freedoms.…
The subject of psychedelics and, more generally, altered states of consciousness, has enthralled me personally and professionally since my teens. The subject grows fascinating as prohibition lifts in an era regarded as a “psychedelic renaissance.” My training as a cultural anthropologist, my interest in religion and ritual, and research focus on transformational events, movements, and figures colours this focus. Past research has included longitudinal ethnography of global psychedelic trance and festival culture. My current book project, an intellectual biography – Terence McKenna: The Strange Attractor (MIT Press, 2023) – is shaped by my interests in this area.
Davis’ style is analytical swank and this excavation of the 1970s is his odyssean opus. High Weirdness is a fascinating trip of a book in which the psychedelic epiphanies and freak experiences of Terence McKenna, Robert Anton Wilson, and Philip K. Dick are each explored and compared for their extraordinary contributions to “consciousness culture,” and for their entrees on the radical form of realism Davis calls “weird naturalism.” The book serves as a remarkable introduction to each of the trio upon whom Davis has made extensive study, from the epicenter of the weird that was the 1971 Experiment at La Chorrera, to the origins and impact of the Discordian “mindfuck,” to Dick’s “perturbations in the reality field,” notably the 1974 events he named “2-3-74.” In the literature, philosophy, and practice of each we see “freak bricoleurs cobbling together their own technologies of the self.” Across this extensive freakography, we have…
An exploration of the emergence of a new psychedelic spirituality in the work of Philip K. Dick, Terence McKenna, and Robert Anton Wilson.
A study of the spiritual provocations to be found in the work of Philip K. Dick, Terence McKenna, and Robert Anton Wilson, High Weirdness charts the emergence of a new psychedelic spirituality that arose from the American counterculture of the 1970s. These three authors changed the way millions of readers thought, dreamed, and experienced reality―but how did their writings reflect, as well as shape, the seismic cultural shifts taking place in America?
An academically trained historian, I'm a Music Obsessive/History Geek/Southerner/Guitarist/Public Historian/Teacher/Interpreter/Writer/Fan who studies the intersection of music, culture, history, and place. I grew up devouring Mom’s Beatles and Dad’s country records. My life changed in 6th grade when I got my first guitar and discovered the blues. In 7th grade I wrote a research paper on the hippies. That’s when I fell in love with the counterculture. Throughout my life I’ve interwoven my love of the blues, punk rock, the Allman Brothers Band, and the Jam Depression collective as a historian, fan, and musician. My enduring passion culminated in a Ph.D. and the publication of Play All Night! Duane Allman and the Journey to Fillmore East.
Since their 1965 founding, the Grateful Dead have been one of the counterculture’s most enduring institutions.
No Simple Highway answers why, placing the band in the context of its times through three utopian ideals central to the band and its fans: Ecstasy (not just drugs, but an “urge to transcend”), Mobility, and Community. The band, Richardson argues, is “the American experiment in action.”
You’ll learn how the band wove multiple strands of American music with literature, folklore, the counterculture, and the visual arts into a truly unique musical tapestry whose express purpose was as part of a live music experience.
This music-as-participation dynamic meant the audience was as important to the Dead as the music they played. This book had a major impact on how I approached the band/audience story for my own Allman Brothers research.
Crossroads: Postwar America, youth counterculture, audience, San Francisco
For almost three decades, the Grateful Dead was America's most popular touring band. No Simple Highway is the first book to ask the simple question of why―and attempt to answer it. Drawing on new research, interviews, and a fresh supply of material from the Grateful Dead archives, author Peter Richardson vividly recounts the Dead's colorful history, adding new insight into everything from the Acid Tests to the band's formation of their own record label to their massive late career success, while probing the riddle of the Dead's vast and durable appeal.
Arguing that the band successfully tapped three powerful utopian…
I’ve been reading, studying, and writing about Texas literature for over 25 years.
I’m the longtime literary curator at the Wittliff Collections at Texas State University, which holds the archives of many leading writers from Texas and the Southwest. I have a personal passion for the 1960s and have written/co-written three nonfiction books set in the sixties.
Bud Shrake’s novel of Dallas at the time of the Kennedy Assassination is an excellent example of what I call “eyewitness fiction.” As a prominent journalist at the rabidly anti-JFK Dallas Morning News, Shrake spent time mingling with the far-right millionaires who refashioned Dallas into a “City of Hate.” Yet the politically liberal, dope-smoking Shrake was also a denizen of Dallas’s underworld and was dating the star stripper at Jack Ruby’s nightclub. From these twin worlds, he fashioned this ferocious, comically subversive portrait of Dallas in the months leading up to the assassination.
Shrake’s writing has less in common with his Texas contemporaries than it does with American novelists Ken Kesey, Charles Portis, and Kurt Vonnegut. This novel blasts off so hard it can be a bit hard for some readers to hang on in the beginning. But if you stay with it, and latch on to Shrake’s Dexedrine-fueled…
A TV western star quits his successful series and returns to Dallas to make a documentary film that reveals the truth about his home town. His quest forces him to learn if he is capable of using his six-gun for real as he moves from booze and radical politics in oil men's palaces into the infamous Carousel Club and the underworld of arms and dope smuggling in a city ripe for the murder of a President.
I am driven to tell the stories of important but often forgotten women journalists from the 1940s through the 1970s. They were pioneers who also created deep connections in their communities. Over the past few years, I have published several books about women in mass media. My 2014 book documented the history of newspaper food editors– an often powerful and political position held almost exclusively by women. My third book, Women Politicking Politelylooked at the experiences of pioneering women’s editors and women in politics which allows for a better perspective of women in journalism today and adds to women’s history scholarship.
This book explores a generation of women who often overtly questioned gender norms. Theirs was a generation that imagined it would reinvent the world. These women of 1969 looked at labor, family, and politics through a new lens. The author explores the gender politics of the time and its impact on the personal. After all, this was a class at the crossroads. They were faced with the traditional message for middle-class women as wives and mothers while also being told they could have careers.It is important to note that this was Hillary Rodman (Clinton)’s graduating class.
On Commencement Day at Wellesley, Rodham told her classmates, “We are, all of us, exploring a world that none of us understands and attempting to create within that an uncertainty. The only tool we have ultimately to use is our lives.” In response, Horn explores the lives of the women as they explored…
When the women of the Wellesley class of 1969 entered the ivory tower, they were initiated into a rarefied world. Many were daughters of privilege, many were going for their "MRS." But by the time they graduated four years later, they faced a world turned upside down by the Pill, NOW, student protests, the counterculture, and the Vietnam War.
In this social history, Miriam Horn retraces the lives of women caught on a historic cusp. This generation was the first to test-drive modern rules that remain complicated and contentious regarding sexuality, marriage, motherhood, paid work, spirituality, aging, and the difficulties…
As a degreed socio-linguist and international educator, my novel writing has been immersed in the human experience that began early on as a teen musician immersed naively in a non-mainstream world of creatives and cons, when the word 'counterculture' was perceived more as a renaissance than the drug-laden world of darker gatherings that it later came to be known as. Boulder Blues is a work of fiction drawn from both fantasy and personal exposure. From there I went on to teach in American alternative education and later at university with a focus on rhetoric and forensic writing. My draw to other cultures and their perspectives moved me to go on to teach internationally.
Coining an era of "sorry stuff of troubled times," The New Yorker calls this autobiography of journalist/fiction writer Didion’s a timely and elegant collection. Yet, it could also be seen as a culmination of depressing flashbacks to a scarier time of a seedier side of the ‘60s - ‘70s, when broken taboos of post-WWII boomers led to not only drug-induced spirituality and experimentation, but also depraved moralities and violent behaviours. The author relives personal experiences of friendships with others once close to key figures who had near escapes from encounters with the likes of the Manson Family and Black Panthers.
Joan Didion's hugely influential collection of essays which defines, for many, the America which rose from the ashes of the Sixties.
We tell ourselves stories in order to live. The princess is caged in the consulate. The man with the candy will lead the children into the sea.
In this now legendary journey into the hinterland of the American psyche, Didion searches for stories as the Sixties implode. She waits for Jim Morrison to show up, visits the Black Panthers in prison, parties with Janis Joplin and buys dresses with Charles Manson's girls. She and her reader emerge, cauterized, from…
As a degreed socio-linguist and international educator, my novel writing has been immersed in the human experience that began early on as a teen musician immersed naively in a non-mainstream world of creatives and cons, when the word 'counterculture' was perceived more as a renaissance than the drug-laden world of darker gatherings that it later came to be known as. Boulder Blues is a work of fiction drawn from both fantasy and personal exposure. From there I went on to teach in American alternative education and later at university with a focus on rhetoric and forensic writing. My draw to other cultures and their perspectives moved me to go on to teach internationally.
Kurt Vonnegut, Jr.’s son, Mark, wrote this semi-fictional exploratory piece in an autobiographical style while exploring the nature of drug-induced madness coupled with undiagnosed schizophrenia while living an alternative lifestyle in a working commune. Through it all, the nature of humanity is questioned in a humorously chaotic way. And yet he pulls it all together to somehow not only make sense of, but also be enlightened by, the madness of this counterculture lifestyle.
Mark Vonnegut later returns to university and obtains a medical degree while exploring the use of orthomolecular medicine as a treatment to combat schizophrenia. While successfully obtaining his medical degree, he eventually disavows orthomolecular therapy as a plausible treatment.
“One of the best books about going crazy . . . required reading for those who want to understand insanity from the inside.”—The New York Times Book Review
Mark Vonnegut set out in search of Eden with his VW bug, his girlfriend, his dog, and his ideals. But genetic predisposition and “a whole lot of **** going down” made Mark Vonnegut crazy in a culture that told him “mental illness is a myth” and “schizophrenia is a sane response to an insane society.” Here he tells his story with the eyes that see from the inside out: a moving remembrance…
I’m an author and a romantic. Put the two together and it makes sense for me to write love stories. I’ve always been interested in relationships and fascinated by how complex our feelings make us when we fall in love. There’s a love story in all my books, but for the last three novels, a love story has been thestory. I’m a Londoner too, and I like it when a city becomes another character in a book, as I hope London has in The Central Line.
It's 1969, Phyllis is married to a kind man, with two children and a large house in suburban London. Her domestic world is not far removed from a dutiful 50s housewife’s. Then a much younger man, dashing, selfish, and a family friend, kisses her in a dark garden, and her life explodes. She abandons her family and moves to a shabby flat in Ladbroke Grove. A new world opens to her – she meets people of colour, artists, activists, drinkers, and idealists. She experiences sexual freedom and romantic love. Phyllis’s teenage daughter joins her in her new life, and mother and daughter must work out a different kind of relationship. I found myself feeling furious with Phyllis at the same time as emphasising with her.
“Tessa Hadley recruits admirers with each book. She writes with authority, and with delicacy: she explores nuance, but speaks plainly; she is one of those writers a reader trusts.”—Hilary Mantel
From the bestselling author of Late in the Day and The Past comes a compulsive new novel about one woman’s sexual and intellectual awakening in 1960s London.
1967. While London comes alive with the new youth revolution, the suburban Fischer family seems to belong to an older world of conventional stability: pretty, dutiful homemaker Phyllis is married to Roger, a devoted father with a career in the Foreign Office. Their…
The reason why I recommended these books is they all have the constant theme of freedom. Each one is very unique, and they all have adventure, romance, tragedy, and fantasy. Every single book is a different journey of healing for your soul that I feel anyone would enjoy. We have two biographies that are so raw; they will rock your soul, and you can relate to them. We have one on how not to get offended, which is amazing, and another that is sci-fi, which is way better than Harry Potter ever thought about being. If you like me as an author, you will love the books that I have recommended.
First of all, Lou Engel is an amazing man in his 60s, and he literally probably spent half of his life fasting and intercession in prayer for the nations and for the world.
This book shows you the power of fasting and the miracle answers that happened so many times in history, where there’s been a movement of God where fasting was prevalent.
A Passionate, Prophetic Summons to Prayer and Fasting
We are poised at a key moment in history. Amidst pain and chaos, we can turn the tide of evil in our lands. With excitement and profound insight, seasoned prophetic leader Lou Engle shows how: through bold faith and aggressive, passionate prayer and fasting.
Here he equips you with the dynamic, practical tools you need to answer the call of countercultural consecration. Using Jesus as the role model, he reveals that 40 days of prayer and fasting always precede breakthrough, revelations of God's glory, breakage of demonic hindrances, and more. As we…
Both my books have a survival theme. Whether it’s foraging for mushrooms, wild camping, or trying to survive lockdown, I’ve always been interested in the relationship between endurance and creativity; what happens when humans are pushed to their limits. After teaching English in a secondary school for 25 years, I decided that I wanted to write a book of my own. I hid away in my caravan in West Wales, living off tomato soup and marshmallows, to write The Island. The books on this list represent the full gamut of survival: stripping yourself raw, learning nature’s lore, healing, falling, getting back up again. Ultimately, to read is to escape into story. To read is to survive.
This is the book which most inspired Frances’ voice in The Island. 15-year old Anais is troubled, loving, brilliant, and creative. She is also at a young offenders’ institution named the Panopticon after being found covered in blood at a crime scene. A birthday present from my brother, this book is so powerful, moving, and evocative. It’s written in spiky Midlothian. It’s raw. It’s warm. It’s brutal.
No matter what life throws at her (and there is a lot) Anais finds a way to survive with humour and defiance. I just loved it.
Named one of Granta's Best of Young British Novelists
Anais Hendricks, fifteen, is in the back of a police car. She is headed for the Panopticon, a home for chronic young offenders. She can't remember what’s happened, but across town a policewoman lies in a coma and Anais is covered in blood. Raised in foster care from birth and moved through twenty-three placements before she even turned seven, Anais has been let down by just about every adult she has ever met. Now a counterculture outlaw, she knows that she can only rely on herself. And yet despite the parade…
