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Red-Dirt Marijuana and Other Tastes
This collection of Southern's short pieces--two dozen hilarious, well-observed, and devastating sketches that expose the hypocrisy of American social mores--is widely recognized as an underground classic.
"'The Blood of [a] Wig' is one of the funniest stories I have read in a long time and what with all this moving of hearts and brains from one place to another it could happen anywhere… All in all a witty and profound collection."
-- William S. Burroughs
"The change of pace, or rather shock, is as refreshing as flower people coming out for hate."
-- Baltimore Sun
"'The Blood of [a] Wig' is one of the funniest stories I have read in a long time and what with all this moving of hearts and brains from one place to another it could happen anywhere… All in all a witty and profound collection."
-- William S. Burroughs
"The change of pace, or rather shock, is as refreshing as flower people coming out for hate."
-- Baltimore Sun
Paperback
First published November 30, 1966
43 people are currently reading
876 people want to read
About the author
Terry Southern
63 books140 followersTerry Southern was an American novelist, screenwriter, essayist, and satirist renowned for his sharp wit, fearless satire, and incisive observations on American life. A leading voice of the counterculture and a progenitor of New Journalism, Southern made lasting contributions to both literature and film, influencing generations of writers and filmmakers with his unique blend of surreal humor and cultural critique.
Born in Alvarado, Texas, Southern served in the U.S. Army during World War II, where he was stationed in North Africa and Italy. After the war, he studied philosophy at Northwestern University and the University of Chicago before moving to Paris in 1948 on the G.I. Bill. There, he became part of the expatriate literary scene and developed friendships with other writers and artists. It was during this period that he met Mason Hoffenberg, with whom he co-wrote the controversial erotic satire Candy, published in 1958. The novel was banned in several countries but became an underground classic, cementing Southern’s reputation as a daring literary voice.
Southern’s first novel, Flash and Filigree (1958), introduced readers to his darkly comedic style, but it was The Magic Christian (1959) that brought him broader acclaim. The book, which satirizes greed and corruption through the antics of an eccentric billionaire, exemplified Southern’s trademark irreverence and biting social commentary. He followed this with the acclaimed short story collection Red-Dirt Marijuana and Other Tastes (1967), the porn-industry parody Blue Movie (1970), and the semi-autobiographical Texas Summer (1992).
In the 1960s, Southern turned to screenwriting and quickly became one of the most sought-after writers in Hollywood. He co-wrote the screenplay for Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), a black comedy about nuclear war that earned him an Academy Award nomination. His other screenwriting credits include The Loved One (1965), The Cincinnati Kid (1965), Barbarella (1968), Easy Rider (1969), and the film adaptation of The Magic Christian (1969). His work on Easy Rider was particularly significant, as the film became a landmark of the New Hollywood era and a symbol of the American counterculture.
Southern's literary and journalistic work also found homes in major publications such as Esquire, Harper’s, and The Paris Review. His style helped pave the way for the New Journalism movement, and Tom Wolfe cited Southern as a major influence. Beyond his literary and cinematic achievements, Southern was known for his friendships with notable cultural figures, including William S. Burroughs, Allen Ginsberg, and Hunter S. Thompson.
Despite early success, Southern struggled in his later years with financial instability and health problems. He continued to write and teach, contributing to Saturday Night Live in the early 1980s and lecturing on screenwriting at institutions like New York University and Columbia University.
Terry Southern died in New York City in 1995 of respiratory failure. Though his name is less known today than some of his contemporaries, his work remains influential. Revered for his unapologetic voice and imaginative storytelling, Southern is remembered as a fearless satirist who pushed the boundaries of both literature and film.
Born in Alvarado, Texas, Southern served in the U.S. Army during World War II, where he was stationed in North Africa and Italy. After the war, he studied philosophy at Northwestern University and the University of Chicago before moving to Paris in 1948 on the G.I. Bill. There, he became part of the expatriate literary scene and developed friendships with other writers and artists. It was during this period that he met Mason Hoffenberg, with whom he co-wrote the controversial erotic satire Candy, published in 1958. The novel was banned in several countries but became an underground classic, cementing Southern’s reputation as a daring literary voice.
Southern’s first novel, Flash and Filigree (1958), introduced readers to his darkly comedic style, but it was The Magic Christian (1959) that brought him broader acclaim. The book, which satirizes greed and corruption through the antics of an eccentric billionaire, exemplified Southern’s trademark irreverence and biting social commentary. He followed this with the acclaimed short story collection Red-Dirt Marijuana and Other Tastes (1967), the porn-industry parody Blue Movie (1970), and the semi-autobiographical Texas Summer (1992).
In the 1960s, Southern turned to screenwriting and quickly became one of the most sought-after writers in Hollywood. He co-wrote the screenplay for Stanley Kubrick’s Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), a black comedy about nuclear war that earned him an Academy Award nomination. His other screenwriting credits include The Loved One (1965), The Cincinnati Kid (1965), Barbarella (1968), Easy Rider (1969), and the film adaptation of The Magic Christian (1969). His work on Easy Rider was particularly significant, as the film became a landmark of the New Hollywood era and a symbol of the American counterculture.
Southern's literary and journalistic work also found homes in major publications such as Esquire, Harper’s, and The Paris Review. His style helped pave the way for the New Journalism movement, and Tom Wolfe cited Southern as a major influence. Beyond his literary and cinematic achievements, Southern was known for his friendships with notable cultural figures, including William S. Burroughs, Allen Ginsberg, and Hunter S. Thompson.
Despite early success, Southern struggled in his later years with financial instability and health problems. He continued to write and teach, contributing to Saturday Night Live in the early 1980s and lecturing on screenwriting at institutions like New York University and Columbia University.
Terry Southern died in New York City in 1995 of respiratory failure. Though his name is less known today than some of his contemporaries, his work remains influential. Revered for his unapologetic voice and imaginative storytelling, Southern is remembered as a fearless satirist who pushed the boundaries of both literature and film.
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Displaying 1 - 30 of 49 reviews
February 22, 2023
Red-Dirt Marijuana and Other Tastes consists of the fine fragments of its time and has a quite peculiar acid flavour.
A pillowcase full of marijuana, razor brawls, the sun is at the sundown and the stars are stillborn, hipsters and dopers, joints and spliffs, tricks and treats – the book is a collection of trips.
Every epoch has its own toys to play.
The white boy walked on over to one side of the shed where the kindling was stacked and pulled down an old sheet of newspaper which he shook out to full size and spread in front of the Negro. He dumped the gray-grass contents of the pillowcase onto the paper, and then straightened up to stand with his hands on his hips, frowning down at it. He was twelve years old.
A pillowcase full of marijuana, razor brawls, the sun is at the sundown and the stars are stillborn, hipsters and dopers, joints and spliffs, tricks and treats – the book is a collection of trips.
The effect of red-split was ‘as advertised’ so to speak – in this case, quite gleeful. Sense-derangementwise, it was unlike acid in that it was not a question of the ‘Essential I’ having new insights, but of becoming a different person entirely. So that in a way there was nothing very scary about it, just extremely weird, and as it turned out, somewhat mischievous.
Every epoch has its own toys to play.
October 6, 2018
A mixed bag some are good others not. I don’t regret reading it and enjoyed Plimpton’s introduction to his friend. A house guest who throws a party in your home while you’re out of town must be a friend.
It starts like this:
“My earliest experience with Terry Southern was a discomfiting one. A story of his called “The Accident”: (actually a part of his first novel, Flash and Filigree) was being prepared for publication in the initial number of The Paris Review. In those times 9the early Fifties) the U.S. Customs was even more rigid and conservative than the U.S. Mails. As anyone who came through Customs would remember, a copy of Henry Miller’s Tropic of Cancer) or even Nabokov’s Lolita could subject the traveler to confiscation of the book and fines. In 1959 Customs in New York threatened to bond an entire shipment of The Paris Review for a single line in a story (by Alex Trocchi) which read. “Give me the spike quick or I’ll cut your fucking throat!”
The line in Southern’s story was far milder. A policeman says to an irate motorist, “Don’t get your shit hot.” After much discussion, the offending word was changed to “crap: and at the last (I cringe to write this) the word was taken out altogether so that the line became feeble, and rather unlikely: “Don’t get hot!”
Southern was properly incensed. He wrote a fifteen-page letter denouncing the magazine for its timidity and demanded that we publish it. It fell upon Peter Matthiessen, the literary editor of the magazine at the time, to try to reason with him. He pointed out that a fifteen-page letter would overbalance the contents of the next issue…it would take up about a quarter of the available pages. Southern was adamant.
Finally Matthiessen composed a short erratum which read as follow: “Terry Southern is most anxious that The Paris Review point out the absence of two words from his story ‘The Accident.’ The sentence ‘Don’t get hot’ should have read, ‘Don’t get your crap hot,’ an omission for which we apologize to all those concerned.”
Art Buchwald, who at that time was writing for the Paris Herald-Tribune, felt that it was the funniest erratum notice he ever hoped to come across. He wanted to write about it in his column, but he knew his editor would never allow that word crap to appear. It was a problem that bedeviled everyone then.”
— George Plimpton, January 8, 1990
*****************************************************
Terry Southern (May 1, 1924 – October 29, 1995) was an American novelist, essayist, screenwriter, and university lecturer, noted for his distinctive satirical style. Part of the Paris postwar literary movement in the 1950s and a companion to Beat writers in Greenwich Village, Southern was also at the center of Swinging London in the 1960s and helped to change the style and substance of American films in the 1970s. He briefly wrote for Saturday Night Live in the 1980s.
Southern's dark and often absurdist style of satire helped to define the sensibilities of several generations of writers, readers, directors and film goers. He is credited by journalist Tom Wolfe as having invented New Journalism with the publication of "Twirling at Ole Miss" in Esquire in February 1963. Southern's reputation was established with the publication of his comic novels Candy and The Magic Christian and through his gift for writing memorable film dialogue as evident in Dr. Strangelove, The Loved One, The Cincinnati Kid, and The Magic Christian. His work on Easy Rider helped create the independent film movement of the 1970s.
Works
Books
• Flash and Filigree (1958)
• Candy (with Mason Hoffenberg) (1958)
• The Magic Christian (1959)
• Red-Dirt Marijuana and Other Tastes (1967)
• Blue Movie (1970)
• Texas Summer (1992)
Screenplays
• Dr. Strangelove (with Stanley Kubrick and Peter George) (1964)
• The Loved One (with Christopher Isherwood) (1965)
• The Collector (with John Kohn and Stanley Mann; uncredited) (1965)
• The Cincinnati Kid (with Ring Lardner Jr.) (1966)
• Casino Royale (1967) (with John Law, Wolf Mankowitz and Michael Sayers; uncredited)
• Barbarella (with Roger Vadim, Claude Brule, Vittorio Bonicelli, Clement Biddle Wood, Brian Degas and Tudor Gates) (1968)
• Easy Rider (with Peter Fonda and Dennis Hopper) (1969)
• The End of the Road (with Dennis McGuire and Aram Avakian) (1969)
• The Magic Christian (with Joseph McGrath) (1969)
• The Telephone (with Harry Nilsson) (1988)
https://en.wikipedia.org/wiki/Terry_S...
https://www.kirkusreviews.com/book-re... (1967)
http://swampland.com/reviews/view/tit...
http://movies2.nytimes.com/books/01/0...
https://en.wikipedia.org/wiki/Red-Dir...
It starts like this:
“My earliest experience with Terry Southern was a discomfiting one. A story of his called “The Accident”: (actually a part of his first novel, Flash and Filigree) was being prepared for publication in the initial number of The Paris Review. In those times 9the early Fifties) the U.S. Customs was even more rigid and conservative than the U.S. Mails. As anyone who came through Customs would remember, a copy of Henry Miller’s Tropic of Cancer) or even Nabokov’s Lolita could subject the traveler to confiscation of the book and fines. In 1959 Customs in New York threatened to bond an entire shipment of The Paris Review for a single line in a story (by Alex Trocchi) which read. “Give me the spike quick or I’ll cut your fucking throat!”
The line in Southern’s story was far milder. A policeman says to an irate motorist, “Don’t get your shit hot.” After much discussion, the offending word was changed to “crap: and at the last (I cringe to write this) the word was taken out altogether so that the line became feeble, and rather unlikely: “Don’t get hot!”
Southern was properly incensed. He wrote a fifteen-page letter denouncing the magazine for its timidity and demanded that we publish it. It fell upon Peter Matthiessen, the literary editor of the magazine at the time, to try to reason with him. He pointed out that a fifteen-page letter would overbalance the contents of the next issue…it would take up about a quarter of the available pages. Southern was adamant.
Finally Matthiessen composed a short erratum which read as follow: “Terry Southern is most anxious that The Paris Review point out the absence of two words from his story ‘The Accident.’ The sentence ‘Don’t get hot’ should have read, ‘Don’t get your crap hot,’ an omission for which we apologize to all those concerned.”
Art Buchwald, who at that time was writing for the Paris Herald-Tribune, felt that it was the funniest erratum notice he ever hoped to come across. He wanted to write about it in his column, but he knew his editor would never allow that word crap to appear. It was a problem that bedeviled everyone then.”
— George Plimpton, January 8, 1990
*****************************************************
Terry Southern (May 1, 1924 – October 29, 1995) was an American novelist, essayist, screenwriter, and university lecturer, noted for his distinctive satirical style. Part of the Paris postwar literary movement in the 1950s and a companion to Beat writers in Greenwich Village, Southern was also at the center of Swinging London in the 1960s and helped to change the style and substance of American films in the 1970s. He briefly wrote for Saturday Night Live in the 1980s.
Southern's dark and often absurdist style of satire helped to define the sensibilities of several generations of writers, readers, directors and film goers. He is credited by journalist Tom Wolfe as having invented New Journalism with the publication of "Twirling at Ole Miss" in Esquire in February 1963. Southern's reputation was established with the publication of his comic novels Candy and The Magic Christian and through his gift for writing memorable film dialogue as evident in Dr. Strangelove, The Loved One, The Cincinnati Kid, and The Magic Christian. His work on Easy Rider helped create the independent film movement of the 1970s.
Works
Books
• Flash and Filigree (1958)
• Candy (with Mason Hoffenberg) (1958)
• The Magic Christian (1959)
• Red-Dirt Marijuana and Other Tastes (1967)
• Blue Movie (1970)
• Texas Summer (1992)
Screenplays
• Dr. Strangelove (with Stanley Kubrick and Peter George) (1964)
• The Loved One (with Christopher Isherwood) (1965)
• The Collector (with John Kohn and Stanley Mann; uncredited) (1965)
• The Cincinnati Kid (with Ring Lardner Jr.) (1966)
• Casino Royale (1967) (with John Law, Wolf Mankowitz and Michael Sayers; uncredited)
• Barbarella (with Roger Vadim, Claude Brule, Vittorio Bonicelli, Clement Biddle Wood, Brian Degas and Tudor Gates) (1968)
• Easy Rider (with Peter Fonda and Dennis Hopper) (1969)
• The End of the Road (with Dennis McGuire and Aram Avakian) (1969)
• The Magic Christian (with Joseph McGrath) (1969)
• The Telephone (with Harry Nilsson) (1988)
https://en.wikipedia.org/wiki/Terry_S...
https://www.kirkusreviews.com/book-re... (1967)
http://swampland.com/reviews/view/tit...
http://movies2.nytimes.com/books/01/0...
https://en.wikipedia.org/wiki/Red-Dir...
December 2, 2019
Shocking, transgressive writing doesn't always age well but the wit here is pretty much timeless. Few writers are as influential in as many areas as Southern -- fiction, journalism, screenplays -- but I'm not sure how widely he's still read. The stories and non-fiction pieces here are not all masterworks but the best of them are still stunning and all of them are windows into their age, essential for anyone who wants to understand the twisted evolution of mid-Century American culture. I had no expectation of finding a genuine horror story here but "The Sun and the Still-born Stars" is as fine a "weird tale" as any I've ever read. I also really enjoyed the journalistic pieces: his biting, landmark article on the twirling program at Old Miss and an interview with one of the recruits for the Bay of Pigs debacle. Finally, the article on working for a men's mag in the mid 60s and copping a dose of schizophrenic's blood is still blackly hilarious and pointed even after all these years.
September 12, 2019
Toda clase de sabores aderezados con drogaína.
September 17, 2016
As I have stopped reading forewords (or "spoilwords" I call them), I had no idea who Terry Southern was until I finished this very uneven anthology. It's a good thing, too. If I had known, I would have been even more disappointed than I was. My advice is read "Twirling at Ole Miss" then call it quits. That's as good as it gets, and it goes very downhill from there.
October 31, 2007
From this book, which I read my first year in college, I learned that suddenly, brutally, and senselessly killing the main character of a story is a great way to end it. Terry Southern wrote the screenplays for two movies that deployed the same technique: "Easy Rider" and "Dr. Strangelove".
Read
April 7, 2025♠️3 de espadas♠️
It went a little bit south
Bajo ninguna circunstancia puedo señalar A la rica marihuana... como un libro "imprescindible" o "necesario". Aunque tiene varios short stories de muy buena factura y de agradable lectura: Eres muy hip, tío, Tienes que dejar tu marca o el curioso La carretera saliendo de Axotle sobresalen entre un puñado de textos acaso olvdables.
Su apartado non fiction es mucho más sólido: vale la pena especialmente echarle un ojo a Bastoneando en Ole Miss o Sangre en la peluca, ejercicios de Nuevo Periodismo que involucran al lector en la situación y circunstancia de una manera inteligente y divertida, recomendables si te interesa el trabajo de Hunter S. Thompson.
La gran bronca con este libro es su irregularidad: lees algo excelente e inmediatamente después algo que no tiene pies ni cabeza; me consuela decir que el sentido del humor y agudeza del autor se pueden ver, aun en sus pasajes mas medianos.
P.D. La traducción del libro necesita una revisada, Kosian Masoliver (parece un seudónimo a lo Alan Smithee) hizo un trabajo bastante cuestionable que mella la calidad en general del libro.
Y ya está.
It went a little bit south
Bajo ninguna circunstancia puedo señalar A la rica marihuana... como un libro "imprescindible" o "necesario". Aunque tiene varios short stories de muy buena factura y de agradable lectura: Eres muy hip, tío, Tienes que dejar tu marca o el curioso La carretera saliendo de Axotle sobresalen entre un puñado de textos acaso olvdables.
Su apartado non fiction es mucho más sólido: vale la pena especialmente echarle un ojo a Bastoneando en Ole Miss o Sangre en la peluca, ejercicios de Nuevo Periodismo que involucran al lector en la situación y circunstancia de una manera inteligente y divertida, recomendables si te interesa el trabajo de Hunter S. Thompson.
La gran bronca con este libro es su irregularidad: lees algo excelente e inmediatamente después algo que no tiene pies ni cabeza; me consuela decir que el sentido del humor y agudeza del autor se pueden ver, aun en sus pasajes mas medianos.
P.D. La traducción del libro necesita una revisada, Kosian Masoliver (parece un seudónimo a lo Alan Smithee) hizo un trabajo bastante cuestionable que mella la calidad en general del libro.
Y ya está.
April 17, 2016
I just couldn't get into it. The characters feel like caricatures and, to me, are generally unrelatable. The stories have stuff happening, but there's no real sense of development or growth. As much as the characters are supposed to be "normal," they aren't really compelling either. It's possible that I'm just not familiar with Southern's work and just am not getting some underlying thread, but I bought this largely because the copy I scored had blurbs talking about the book being hilarious. I think a lot of the humor either is dated or simply doesn't set itself up as humor. I'm not getting it.
I understand that he's something of an influence on Tom Wolfe, whose work I do like, but maybe it's just that I like longer form works.
I understand that he's something of an influence on Tom Wolfe, whose work I do like, but maybe it's just that I like longer form works.
September 26, 2013
Uneven collection of Southern's short stories and nonfiction. I enjoyed his nonfiction work more and could see why some (Tom Wolfe) consider Southern to be the founder of New Journalism with his piece "Twirling at Old Miss." Also worth reading was the title story and "Knife Fight," concerning the rural south, and his stories that dealt with the jazz and drug scenes of the 50s.
October 26, 2007
new journalism- what's up, what's up. shake it to the ground and bring it back up.
May 25, 2009
The grade's a bit misleading, since there's a lot of five-star material in this book: The title story, its sequel, You're Too Hip, Baby, and Twirling At Ole Miss, a biting new journalism look at the segregated South. But it's weighed down by some half-hearted efforts that suggest Southern might have done better if he'd given himself a bit clearer of a focus. Highly recommended, but only in parts.
January 21, 2016
Red-Dirt Marijuana and Other Tastes by Terry Southern (The New American Library 1967)(3569.08R43) is a collection of short-stories with no common theme that I could discern. The title story, "Red-Dirt Marijuana," is the earliest reference to home-grown southern marijuana that I can remember running across. My rating: 6/10 (out of respect for his other writing), finished 3/15/11.
August 11, 2016
Un excelente recopilatorio de cuentos. La mayoría hilarantes y demasiado críticos. Otros inolvidables(como los ambientados en México, y el ya clásico "La sangre de una peluca). Terry Southern, pionero del nuevo periodismo, hace hablar a su sociedad desde los silenciados. Su risa estremece, y retuerce los valores del ya dilatado "sueño americano":
August 15, 2010
Some rather dated attitudes towards women (they are sexually uptight and repressive) and gays (they are silly), but some good stuff too. Does reflect the young men shaking off the 1950's. Has the scandalous item on the aftermath of JFK's assassination.
June 12, 2010
not as amusing and cohesive as the novels, but captures southern's wry sense of amusement and irony.
October 19, 2019
A collection of the author's shorter pieces, two dozen humorous sketches which expose the hypocrisy of American social mores.
December 24, 2013
Aside from 4 or 5 legit keepers, I wasn't impressed with this collection.
December 29, 2017
Didn't love most of it. Skipped some of it. I like his novels better.
June 11, 2021
There were some hits but I expected more from this.
January 29, 2018
Terry Southern is my one of my favorite screenwriters (Dr. Strangelove, Pink Panther, Casino Royale, Barbarella and Easy Rider). And seems to also have a taste for adapting some of my favorite writers;
The Collector (Fowles), The Loved One (Waugh), and End of the Road (John Barth).
So when heard that he had written a book of short stories, I was all-in. This isn't a perfect book, and isn't a five-star masterpiece. However it was amazing to me as a transgressive work from an era I'm fascinated with a know little of.
Transgressive doesn't always age very well, and this is no exception. There are a few cringe-worthy words in the beginning and near the end of the book. But I read it in a single sitting an laughed all the way through.
The Collector (Fowles), The Loved One (Waugh), and End of the Road (John Barth).
So when heard that he had written a book of short stories, I was all-in. This isn't a perfect book, and isn't a five-star masterpiece. However it was amazing to me as a transgressive work from an era I'm fascinated with a know little of.
Transgressive doesn't always age very well, and this is no exception. There are a few cringe-worthy words in the beginning and near the end of the book. But I read it in a single sitting an laughed all the way through.
December 5, 2020
Not much to say about this one except it's a mostly solid collection of "reel-less" stories. I'm guessing you either know who Terry Southern is from his novels and screenplays and want to check out his early short fiction and so you'll pick this up and have your expectations mostly fulfilled, occasionally surprised, sometimes let-down ... or, you have no idea who he is and will likely pass the collection by.
May 27, 2021
It is always hard to read books written from the period before gay, women's and civil rights started heading in the right direction and not wince or feel uncomfortable, which may be a good thing. The question then becomes is it decent or morally sound to still enjoy the book.
An odd collection of stories dressed up in the language of hip and I can see why so many people were influenced, including writers of lyrics as much as prose.
An odd collection of stories dressed up in the language of hip and I can see why so many people were influenced, including writers of lyrics as much as prose.
August 2, 2020
While it wasn't at all what I expected this is a book of period surprises.
Havi g seen the magic Christian I was naturally piqued. Most of the bits in this book are a mix of competent storytelling and reporter fare. There's naught too irreverent or gonzo. BUT it's an addictive little collection anyway. Good fun good style and good insight.
Havi g seen the magic Christian I was naturally piqued. Most of the bits in this book are a mix of competent storytelling and reporter fare. There's naught too irreverent or gonzo. BUT it's an addictive little collection anyway. Good fun good style and good insight.
September 17, 2018
This book got more and more interesting as it went on, some of it dry and slow, some of it serious, some of it interesting, some of it fascinating, some of it heehee-funny and some of it downright hilarious, like the play "Apartment to Exchange," which features caricatures of Sigmund Freud and Kafka, "Terry Southern Interviews a Faggot Male Nurse" and "The Blood of a Wig," which is about his "most outlandish drug experience." There is also a very intriguing and humorous interview that Southern does with literary giant Mike Hammer, entitled, "I Am Mike Hammer."
August 13, 2018
Some fine writing in these stories, damn fine writing. They are very evocative of the ‘60’s and ‘70’s. Southern was a screenwriter for Easy Rider and Dr. Strangelove.
August 6, 2019
Good collection of stories...I enjoyed the wide range of styles.
November 26, 2019
From the entirely realistic to the fantastic, from Texas to France to outer space, Southern’s stories are an absolute joy to read.
May 16, 2020
No conecté con Terry Southern. Creo que la obra es irregular ya que hay relatos interesantes y otros que no me engancharon nada.
July 19, 2024
aburrido, a veces incomprensible y con un exceso de falopa
March 20, 2019
some great some not so great
Displaying 1 - 30 of 49 reviews