One evening in September of 1957, viewers across America could turn on their television sets and tune in to a CBS broadcast during which a young woman dropped acid. She sat next to a man in a suit: Sidney Cohen, the researcher who had given her the LSD. The woman wore lipstick and nail polish, and her eyes were shining. "I wish I could talk in Technicolor," she said. And, at another point, "I can see the molecules. I... I'm part of it. Can't you see it?" "I'm trying," Cohen replied.
Were some families maybe-oh, I don't know-eating meat loaf on TV trays as they watched this nice lady undergo her mind-bending, molecule-revealing journey through inner space? Did they switch to "Father Knows Best" or "The Perry Como Show" afterward? One of the feats that the historian Benjamin Breen pulls off in his lively and engrossing new book, "Tripping on Utopia: Margaret Mead, the Cold War, and the Troubled Birth of Psychedelic Science" (Grand Central), is to make a cultural moment like the anonymous woman's televised trip seem less incongruous, if no less fascinating.
In Breen's telling, the buttoned-down nineteen-fifties, not the freewheeling nineteen-sixties, brought together the ingredients, some of them toxic, for the first large-scale cultural experiment with consciousness-expanding substances.
The psychedelic flowering of the sixties has, it turns out, a prequel-a rich and partly forgotten chapter before the hippie movement, before the shamanistic preening and posturing of Timothy Leary, and before the war on drugs shut all that down. This earlier history encompasses not only the now notorious C.I.A. research into mind-altering drugs but also a lighter, brighter, more public dimension of better living through chemistry, buoyed by postwar scientific optimism and public reverence for expertise. "Timothy Leary and the Baby Boomers did not usher in the first psychedelic era," Breen writes.
この記事は The New Yorker の January 29, 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です ? サインイン
この記事は The New Yorker の January 29, 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
ART OF STONE
\"The Brutalist.\"
MOMMA MIA
Audra McDonald triumphs in \"Gypsy\" on Broadway.
INTERNATIONAL AFFAIRS
\"Black Doves,\" on Netflix.
NATURE STUDIES
Kyle Abraham's “Dear Lord, Make Me Beautiful.”
WHAT GOOD IS MORALITY?
Ask not just where it came from but what it does for us
THE SPOTIFY SYNDROME
What is the world's largest music-streaming platform really costing us?
THE LEPER - LEE CHANGDONG
. . . to survive, to hang on, waiting for the new world to dawn, what can you do but become a leper nobody in the world would deign to touch? - From \"Windy Evening,\" by Kim Seong-dong.
YOU WON'T GET FREE OF IT
Alice Munro's partner sexually abused her daughter. The harm ran through the work and the family.
TALK SENSE
How much sway does our language have over our thinking?
TO THE DETECTIVE INVESTIGATING MY MURDER
Dear Detective, I'm not dead, but a lot of people can't stand me. What I mean is that breathing is not an activity they want me to keep doing. What I mean is, they want to knock me off. My days are numbered.