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摘要
摘要
The fabled 1964 cross-country bus trip of Ken Kesey and the Merry Pranksters - on a psychedelically painted school bus crammed with amplifiers, cameras, costumes, and assorted contraband as cargo and Beat legend Neal Cassady at the wheelmarked the irreversible end of the Eisenhower Era, and set an American cultural revolution in motion. On the Bus is a celebration of the unforgettable exploits of the Merry Pranksters, immortalized in Tom Wolfe's bestselling book. In this engrossing popular history, the spirit of the era is captured in a remarkable living chronicle, combining analysis and history with colorful additional narrative by Kesey sidekick Ken Babbs. It features over 100 never-before-seen photos by Prankster photographer Ron Bevirt, Allen Ginsberg, and others, alongside candid and insightful interviews with participants and leading countercultural figures.
评论 (3)
出版社周刊评论
In the effort to offer a ``complete guide'' to the legendary psychedelic bus trip taken by Kesey and 13 other ``pranksters'' in 1964, this book lacks only a bound-in tab of LSD-25 to make it the real thing. Candid and whacky photos taken during the trip convey a generation's abandonment to drug-induced ecstasy in a way that words cannot--although words there are aplenty here. Interviews with participants and witnesses, a hybrid essay/fantasy by prankster Babbs, excerpts from Tom Wolfe 's The Electric Kool-Aid Acid Test attempt to capture the unruly energies of a motley but winning crew. Of most interest to serious fans of those days are the interviews by Perry (former editor of Running magazine), in which, for example, the literary origins of Kesey's band in Palo Alto--Larry McMurtry, Robert Stone, Gordon Lish, Wallace Stegner at nearby Stanford--are restored to the myth. (Stone's refusal to aggrandize the ``birth of counterculture''--``Still, we were rather pleased with ourselves. . . . We kept our world small''--is a nice counterbalance to the broader claims made elsewhere.) Perry's careful reconstruction of the nine-city trip has its wonders, too, such as the meeting with a surly, intoxicated Jack Kerouac who, upon seeing a ``throne'' prepared for him by the Pranksters with an American flag draped over it, ``mute and quiet . . . took the flag and folded it up neatly and put it over the side.'' (Dec.) (c) Copyright PWxyz, LLC. All rights reserved
《书目》(Booklist)书评
"What a long, strange trip it's . . ." No, but then again, yes. Reminiscences continue 20-something years after the birth of the psychedelic movement. Using mainly recollections of participants, this book chronicles the 1964 journey of Ken (Cuckoo's Nest) Kesey and the Merry Pranksters on their fantastic, painted bus named Further and the subsequent be-ins--acid tests--held by members of the LSD scene. This is less a celebration than a reflection that presents the immediacy of purpose of the drug activities without avoiding the occasional shortsightedness, immaturity, and desperation of those who went along. Commentators include Hunter S. Thompson, Jerry Garcia, Timothy Leary, and Allen Ginsburg. This is a more straightforward account than Kesey's recent playscript, The Further Inquiry [BKL Ag 90]. Although at times scattered and repetitious, it is a great browsing volume and a well-rounded view of a short--but key--period of the 1960s. Forewords by Thompson and Garcia and a section focused on the late driver, Neal Cassady. No index. ~--Angus Trimnell
Choice 评论
This book, which nominally commemorates the 25th anniversary of Ken Kesey's "electric kool-aid acid tests" and the celebrated 1964 cross-country trip of Kesey and his band of Merry Pranksters in their psychedelic bus, provides little that is new. Aside from the numerous photographs of the bus trip participants and various other counterculture figures of the 1960s, virtually everything here was presented first in Tom Wolfe's The Electric Kool-Aid Acid Test (1968) and has been frequently reiterated in various popular forums. Although it will prove of nostalgic interest to readers interested in the popular culture of the 1960s, or fans of the Grateful Dead or Neal Cassady, this is really just another coffee-table book riding on the broad back of Ken Kesey's lingering reputation as a cult hero. Most readers would do better to return to Wolfe's book, or to Kesey's fine novels One Flew Over the Cuckoo's Nest (1962) and Sometimes a Great Notion (CH, Oct'64) for more substantial fare. Recommended only for libraries maintaining complete Kesey collections or extensive holdings in popular culture. -B. H. Leeds, Central Connecticut State University