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Searchable Terms
The pagination of this electronic edition does not match the edition from which it was created. To locate a specific passage, please use the search feature of your e-book reader.
“TS” will be substituted for “Terry Southern” throughout.
“Accident, The” (TS), 45–46, 58
Adam, Ken, 120–21, 126–27
Adler, Ellen, 20, 60–61, 195–96, 226
Algren, Nelson, 22, 62, 63–64, 100, 137, 157 Allan Wingate (co.), 75
Allen, Lewis, 156, 227, 240–41, 253
Allen, Woody, 98, 127, 141–42, 151, 245, 259, 290
Allied Artists, 179, 183, 189
Altman, Robert, 183, 269, 288, 293, 302
American Parade, The (teleplays), 216
Amram, David, 55, 63, 97
Anderson, Alston, 63, 64
Anderson, Lindsay, 143, 189, 197
Anderson, Sherwood, 49
Andre Deutsch Ltd., 75, 89
Angell, Roger, 84
Antonioni, Michelangelo, 147, 188–89, 301
“Apartment to Exchange” (TS), 110
“Arab and the Inspector, The” (TS), 80
Armchair Theatre, 76, 81, 82, 83
Ashby, Hal, 134, 238, 239, 241
At Z Beach (film), 256–57
Athill, Diana, 75, 83–84 autobiographical novel (TS), 96, 235, 283–84
autobiography, 28, 32, 33, 43, 55, 77, 90
“Automatic Gate, The” (TS), 35, 43, 156
Avakian, Aram, 39–40, 45, 48, 52, 54, 56–57, 63, 175, 178, 179, 180, 181, 182, 183
Avakian, George, 39, 56, 181, 189
Avildsen, John G., 208, 209
Baker, Albie, 261–62
Baldwin, James, 30, 34, 42, 171
“Bandwagon Moves On, The” (TS), 285
Barbarella (film), 155, 161–63, 164, 171, 194, 274, 292, 296
Barris, Chuck, 201
Bart, Peter, 135
Barth, John, 96, 100, 175, 178, 179, 182
Beach, Sylvia, bookshop, 30
Bear, The (Faulkner), 196
Beard, Peter, 202, 204–5, 254, 293
Beat Hotel (Paris), 55, 71, 88, 221, 225
Beatles, 1, 139, 143, 144, 145, 146, 147, 153, 156, 169, 184, 185, 187, 242, 268, 292
Beats, 32, 54, 55, 88–89, 91, 94, 102
“Beautiful Art of Lotte Lenya, The” (TS), 104
Beckett, Samuel, 46, 48, 101, 102, 148, 175, 224
Being There (film), 238, 241
Belushi, John, 250, 253
Ben-Veniste, Richard, 220
Berendt, John, 176–77
Bernard, Madeline, 67, 93
Bianco, Joe, 221, 222, 224–25, 226, 230
Biker Heaven: Easy Rider 2, 258–59
Bill Lee (draft), 228, 230, 231
black comedy, 58, 96, 256, 300
Dr. Strangelove as, 114, 117
Black Mountain College, 54
Black Mountain Review, 54
blacks, 13–14, 30–31, 39–40, 54
Blinds and Shutters (TS), 146, 275–76, 277, 290
“Blood of a Wig, The” (TS), 104, 163–64, 244
Blue Movie (TS), 122, 140, 141, 142, 150, 159, 164, 175, 189, 209, 210, 283, 287, 289, 290
dedicated to Kubrick, 126
film version, 211–13, 218, 220
influence of, 301–2
optioned, 244–45
paperback reissue, 296
publication of, 190–92, 207
Bockris, Victor, 224, 235, 260, 279–81, 283
book reviewing (TS), 100, 140
Boyle, Peter, 208
Brando, Marlon, 107, 118, 119, 167, 168, 169, 207, 222, 249
Braunsberg, Andrew, 238, 239, 244–45
“Brightes
t and the Best, The” (TS), 291
British Screen Guild Award, 127
Broccoli, Cubby, 122, 141
Brookner, Howard, 235, 262
Brownjohn, Robert, 143, 196–97
Bruce, Lenny, 98, 99, 123, 134, 139, 156, 157
Burgess, Anthony, 73, 149
Burnett, David, 34, 54, 61–62, 98
Burnett, Whit, 34, 62
Burroughs (documentary), 262
Burroughs, William, 32, 54, 58, 71, 88–89, 100, 139, 143, 146, 186–87, 273, 291, 293
agent for, 283
commercials by, 302
at Democratic Convention, 175, 176, 177, 178
drug use, 219
homage to, at Nova Convention, 234–35
introduction for Flash and Filigree reissue, 261
and Junky project, 221–23, 224, 225, 226, 227, 228, 230–31
and Naked Lunch adaptation, 200–201, 277, 278
on SNL, 247, 248
and Spin, 285
and TS, 55, 221
TS collaboration with, 207
Burton, Richard, 168, 169
Buscemi, Steve, 222, 231
“Butcher, The” (TS), 35–36, 43, 156
Calley, John, 124, 129, 131, 133, 135, 136, 137, 139, 149, 150, 211–12, 213, 243, 263
Cambern, Donn, 188
Candy (TS), 37, 38, 64, 70, 81, 105, 125, 128, 129, 150, 159, 161, 191, 210, 259, 290, 297, 299, 301
banned in Paris, 2, 86
contract for publication, 124
copyright wrangles, 265
cultural impact of, 33
and FBI surveillance, 220, 221
film version, 133, 140, 155, 167–69
Hoffenberg’s collaboration on, 2, 72, 79–80, 86, 101, 103, 124, 169, 300
influence of, 302
Olympia version, 104
optioned, 148–49
publication of, 86–87
reissuing, 103, 262, 296
sales, 127
Candy (film), 163, 184, 194, 245
Cannes Film Festival, 148, 189, 201, 222, 226, 287–88
Capote, Truman, 31, 62, 123, 202, 204, 205
Casino Royale, 141, 142–43, 148, 149, 162, 183
CBS, 216
“Change of Style, A” (TS), 80–81
Chapman, Graham, 184–85, 242
characters, 12, 87, 98, 114, 117–18, 190–91, 300
Chateau Marmont, 132–33, 139, 212, 250
Chicago Democratic Convention, 175–78
Chicago Seven Conspiracy Trial, 232–34
“Child Psychology” (TS), 42, 80
Cincinnati Kid, The (film), 133, 136–37
cinema, 110, 183, 206, 207–8
Claxton, William, 133, 134, 135, 137, 138, 190, 208, 216, 217, 256
Cleese, John, 184–85
Clockwork Orange, A, 126, 178, 197, 199, 211
Clockwork Orange, A (Burgess), 149
Coburn, James, 134, 138, 168, 169, 232, 240
Cocksucker Blues, 8, 203
Cocteau, Jean, 28, 29, 144, 223
Cold War, 2, 24, 54, 56, 303
collaborations (TS), 194, 300
Blechman, 275
Hoffenberg, 2, 72, 79–80, 86, 101, 103, 124, 169, 300
S. Kubrick, 108, 109, 113–22, 123, 125, 197, 259, 300
J. Loguidice, 230
N. Lyon, 208
TS relying on, 253
Collector, The (Fowles), 122, 124, 129–30
Columbia pictures, 121, 123, 167
Columbia University, 17, 167, 189, 198, 201
TS teaching at, 286–87, 291, 297
“Come and Get It” (song), 187
Commonwealth United, 183
Cool Million, A, 201, 218
Cooper, Michael, 143, 144, 145, 146, 149, 156, 167, 176, 177, 275–76, 290
Coppola, Francis, 151, 183, 193, 216, 254
Corbett, Harry, 82–83
Corso, Gregory, 53, 55, 88, 89, 103, 150
Cott, Jonathan, 229, 243
counterculture, 153–54, 169, 188, 205, 210, 232, 242, 299, 300, 301
backlash against, 191
Coward–McCann, 90, 98
Creation of Adam, The (treatment), 224, 225, 226, 227
Crews, Harry, 234
critics, 59, 123, 134
see also reviews
Cronenberg, David, 210, 277–78
Crowther, Bosley, 124
Curtis, Tony, 150, 156, 287
Curtis Brown Agency, 65, 72, 97
Dallas, 8, 9, 15, 16, 17, 18
Central Tracks area, 13–14, 21, 41
Oak Cliff, 10–11
“Dark Laughter in the Towers” (TS), 100–101
Dawn of the God Kings (treatment), 234
De Laurentiis, Dino, 161, 162
Dead City Radio, 293–94
Dead Ringers (film), 210
Democratic Convention (Chicago), 175–78
Desperate Hours, The, 155
Deutsch, Andre, 75, 76, 84
Dexamyl, 37, 116, 219–20, 291
dialogue, 40, 116, 117, 142–43, 150, 173–74, 182, 190, 300
DJ, 196
Dr. Strangelove or: How I Learned to Stop
Worrying and Love the Bomb, 2, 3, 18, 64, 95, 99, 101, 112, 126–28, 129, 134, 138, 139, 140, 144, 147, 162, 170, 190, 193, 194, 210, 212, 215, 232, 237, 238, 242, 247, 254–55, 274, 292, 294, 297, 299, 301
collaboration with Kubrick, 113–22, 123–25, 197, 300
credit for script, 124–26, 127, 197, 210
cultural impact of, 33
and FBI surveillance, 220
innovation in, 133
pie-throwing sequence, 119–20, 121
reception of, 135
residuals, 171, 275
term “pervert” in, 259
TS draft of, 296
Donkey and the Darling, The (TS), 72, 175, 229–30, 243
Donovan, Arlene, 215, 283
Don’t Make Waves (film), 133, 150
Double Date (TS), 209–10
Double Pisces (film), 196–97
Doumanian, Jean, 245
Drift, 196
Drucker, Mort, 150
drugs, 37, 146, 219, 260
cocaine, 194, 219, 248, 260
heroin, 32, 34, 37, 40, 46, 67, 219, 250
Dylan, Bob, 139, 153, 225, 263, 268
Early Stones, The, 290
Eastwood, Clint, 127
Easy Rider (film), 164–67, 169, 171–75, 179, 183, 188–89, 192, 193, 194, 210, 221, 222, 232, 242, 260, 274, 299
Cannes Film Festival, 189
cutting, 188
documentary, 297
residuals, 171, 275
sequel (proposed), 240, 258–59, 289