The strange saga of American architecture in the twentieth century makes for both high comedy and intellectual excitement as Wolfe debunks the European gods of modern and postmodern architecture and their American counterparts.

Tom Wolfe, the master social novelist of our time, the spot-on chronicler of all things contemporary and cultural, presents a sensational new novel about life, love, and learning--or the lack of it--amid today's American colleges. Our story unfolds at fictional Dupont University: those Olympian halls of scholarship housing the cream of America's youth, the roseate Gothic spires and manicured lawns suffused with tradition . . . Or so it appears to beautiful, brilliant Charlotte Simmons, a sheltered freshman from North Carolina. But Charlotte soon learns, to her mounting dismay, that for the upper-crust coeds of Dupont, sex, cool, and kegs trump academic achievement every time. As Charlotte encounters the paragons of Dupont's privileged elite--her roommate, Beverly, a Groton-educated Brahmin in lusty pursuit of lacrosse players; Jojo Johanssen, the only white starting player on Dupont's godlike basketball team, whose position is threatened by a hotshot black freshman from the projects; the Young Turk of Saint Ray fraternity, Hoyt Thorpe, whose heady sense of entitlement and social domination is clinched by his accidental brawl with a bodyguard for the governor of California; and Adam Geller, one of the Millennial Mutants who run the university's "independent" newspaper and who consider themselves the last bastion of intellectual endeavor on the sex-crazed, jock-obsessed campus--she is seduced by the heady glamour of acceptance, betraying both her values and upbringing before she grasps the power of being different--and the exotic allure of her own innocence. With his trademark satirical wit and famously sharp eye for telling detail, Wolfe draws on extensive observations at campuses across the country to immortalize the early-21st-century college-going experience.

Tom Wolfe, "America's most skillful satirist" ("The Atlantic Monthly"), examines the strange saga of American architecture in this sequel to "The Painted Word."

The Electric Kool-Aid Acid Test is a work of literary journalism by Tom Wolfe, published in 1968. Using techniques from the genre of hysterical realism and pioneering new journalism, he tells the story of Ken Kesey and his band of Merry Pranksters as they drive across the country in a DayGlo painted school bus dubbed "Furthur," reaching what they considered to be personal and collective revelations through the use of LSD and other psychedelic drugs. It covers their cross country road trip, as well as the Acid Tests, early performances by The Grateful Dead, and Kesey's exile to Mexico. Wolfe is primarily concerned not with narrative, but with relating the Pranksters' intellectual and quasi-religious experiences.

When the future began...
The men had it. Yeager. Conrad. Grissom. Glenn. Heroes ... the first Americans in space ... battling the Russians for control of the heavens ... putting their lives on the line.
The women had it. While Mr. Wonderful was aloft, it tore your heart out that the Hero's Wife, down on the ground, had to perform with the whole world watching ... the TV Press Conference: "What's in your heart? Do you feel with him while he's in orbit?"
The Right Stuff. It's the quality beyond bravery, beyond courage. It's men like Chuck Yeager, the greatest test pilot of all and the fastest man on earth. Pete Conrad, who almost laughed himself out of the running. Gus Grissom, who almost lost it when his capsule sank. John Glenn, the only space traveler whose apple-pie image wasn't a lie.

Tom Wolfe’s modern American satire tells the story of Sherman McCoy, a Wall Street “Master of the Universe” who has it all — a Park Avenue apartment, a job that brings wealth, power and prestige, a beautiful wife, an even more beautiful mistress.
Suddenly, one wrong turn makes it all go wrong, and Sherman spirals downward in a sudden fall from grace that sucks him into the ravenous heart of a New York City gone mad during the go-go, racially turbulent, socially hilarious 1980s.

From "America's nerviest journalist" (Newsweek)--a breath-taking epic, a magnificent adventure story, and an investigation into the true heroism and courage of the first Americans to conquer space. "Tom Wolfe at his very best" (The New York Times Book Review) Millions of words have poured forth about man's trip to the moon, but until now few people have had a sense of the most engrossing side of the adventure; namely, what went on in the minds of the astronauts themselves - in space, on the moon, and even during certain odysseys on earth. It is this, the inner life of the astronauts, that Tom Wolfe describes with his almost uncanny empathetic powers, that made The Right Stuff a classic.

A sprawling collection of essays about the subcultures of the 1960s by Tom Wolfe, the revolutionary journalist and novelist

When Tom Wolfe smashed his way onto the literary scene in 1965 with The Kandy-Kolored Tangerine-Flake Streamline Baby, he transformed reporting in American popular culture. For his next project, Wolfe traveled from La Jolla to London in search of new lifestyles. The result is The Pump House Gang (published simultaneously with The Electric Kool-Aid Acid Test in 1968): a collection of essays that chronicles life at the end of the 1960s, written with all the panache and perceptiveness that made Wolfe one of our greatest American journalists.

Running throughout The Pump House Gang is a central theme of Wolfe’s writing: status. In pieces about Hugh Hefner, Natalie Wood, and a gang of affluent teenage surfers, among others, Wolfe discusses the 1960s phenomenon of retreating from conventional social hierarchies, which he calls “starting your own league.” Dancers, motorcyclists, lumpen-dandies, and stay-at-homes—everybody’s doing it. Except for die-hards in the crumbling old social worlds of New York and London, where the confusion is so great that nobody can tell whether this is really the path to the top they’ve taken or just the service elevator.

Dazzlingly brilliant as a stylist, daringly provocative as a commentator, and always entertaining, in The Pump House Gang, Wolfe is thoroughly, completely himself.