Digby Diehl

Summary

Digby Diehl Drug Themes in Fiction (1974)

It is the integration of the drug-user into society, the doper as Everyman, that opens a new phase of drug literature in the contemporary era. And it is in this newfound representative role that the drug literature of contemporary America may ultimately play a significant part a a mirror of our culture. Unlike the traditionally outcast black magician or the black jazz musician, we come to identify with the drug taker in contemporary writing as on a trip for all of us: an astronaut of inner pace.
Source: Wikisource

Digby Diehl Drug Themes in Fiction (1974)

Yet as literature rounds the bend of the decade of the 'sixties, it finds itself already outdistanced by the emerging counter-culture. The experiential fascination of drug literature has turned into experiential politics and social philosophy: while underground manufacturers of LSD such as Owsley Stanley stamp out pads of LSD for an hallucinogenic generation in the Haight-Ashbury, the imagery of the 'sixties is played out not in novels but in motion pictures like Easy Rider and 2001, psychedelic light shows, and the pulsations of the Beatles, the Stones, and the Grateful Dead.
Source: Wikisource

Digby Diehl Drug Themes in Fiction (1974)

In the instance of this first hindrance, I feel it is clear that future studies of literature which are undertaken should not be limited to directly drug-related fiction. Much of the nonfiction writing of this era—articles from the underground newspapers, defunct youth publications such as Eye and Cheetah, or even descriptive writings from the legitimate press—reveals the substance and flavor of that drug culture more fully than traditional novels or short stories.
Source: Wikisource

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