16 Books Like Red Dirt Marijuana and Other Tastes

Max Zajack's life is cheap rooms, dead-end jobs, and suicidal fantasies until he meets the alluring and mysterious Olivia Aphrodite, and everything goes to hell.

Max is a struggling musician and wannabe writer. His life is in a rut until one night, while playing a gig at a local club, he gazes out into the crowd and sees Olivia. Before long, they are sharing a bed and host of dark vices that begin to consume them. Their love turns toxic, sending them spiraling downward toward the inevitable. Violently romantic, viscerally honest, Hating Olivia is the story of two loners whose obsessive love brings them to the edge of destruction.

In a small Pacific Northwest town we meet a young man who has shot dead his best friend with a gun. The novel deals with the repercussions of this tragedy: the anguish, regret, despair and bittersweet romance.

Typical of Brautigan's singular style, So the Wind Won't Blow It All Away is a beautifully written, brooding novel. Its autobiographical prose is a fitting epitaph to this complex, contradictory and often misunderstood writer.

This novel follows a famous Hollywood director called Boris Adrian but known as "King B" who is shooting a big-budget arthouse porn film.

The auteur was allegedly based on Kubrick, with whom Southern collaborated on Dr. Strangelove, and the book is dedicated to "the great Stanley K" whom Southern alleges wanted to make such a film. As Southern also had screenwriting credits for Easy Rider and Casino Royale, it offers a first-hand account, albeit fictionalized, of someone who worked with the director but also with others in Hollywood.

Peter Biskind chronicles the rise of New Hollywood in the 1970s, featuring such "movie brat" directors as Martin Scorsese, Francis Ford Coppola, and Steven Spielberg. But he also refers to such older directors as Stanley Kubrick.

It’s written in a chatty and easy-to-read style and is full of useful tidbits of information about Kubrick and especially his new backers at Warner Brothers.

Elmore Leonard knew the vagaries of the movie business back to front, and he serves them up on a platter of delicious satire in this story about an East Coast loan shark, Chili Palmer, who comes to Los Angeles chasing a deadbeat debtor and winds up in his own fractured fairy tale version of the Hollywood dream.

Chili’s an endearing character, street smart with a unique blend of humility and self-confidence. When his collection job throws him into company with a group of movie people, he sees them and their milieu with clear-eyed objectivity.

Talking to an underworld associate, he says, “The movie business, you can do anything you want because there’s nobody in charge.” Leonard’s mastery of dialogue and character, along with his wit and sly affection for the industry he’s skewering combine to make this book a complete delight. 

This poorly known novel by a television writer deserves more attention. It concerns a writer on a TV sitcom that is plagued by an impossible actress/star who makes everybody’s lives miserable by her egotistical behavior. The revenge that the writer, Jimmy Hoy, contrives for her is both funny and appropriate. There are laugh-out-loud moments in this book that will make you roar.

One of my favorite novels of any length, Nathanael West’s short 1939 classic is at the very least the most disturbing portrait of Golden Age Hollywood and its hangers-on ever written—hideous, poignant, horribly funny.

West himself wrote scripts for B-movies in the thirties. His death at thirty-three in a car crash was perhaps, in its awful and infuriating ridiculousness, fitting. And it was the day after F. Scott Fitzgerald died.

Tolkin doesn’t hit you with belly laughs so much as tickle the upper corners of your mind with his knowing take on the mores and follies of the Hollywood of the late 1980s. (Of special interest to me, as that’s the moment I arrived there to begin my own TV and film career.) The trenchant satire is exemplified by the crime at its center: studio exec Griffin Mill, badgered by threats from some anonymous screenwriter he’s mistreated, focuses his attention on a different C-list scribe and winds up strangling him to death. Get it?  In a business full of writer-killing executives, Tolkin’s big-wig antihero literally kills a writer.

This is one of the few novels I’ve read twice for pleasure (rather than work). It’s a noirish novel that delves into the esoteric along the lines of Umberto Eco’s Foucault’s Pendulum (which Kubrick allegedly considered adapting at one point but which I was unable to read twice!).

The book follows a film scholar who uncovers an incredible conspiracy around a fictional B-movie director called Max Castle, and the imperceptible images he placed in the gap between each of the twenty-four frames played every second in a movie: the so-called flicker of the title. Its author, Roszak, is better known for having coined the term "the counter-culture."

This notorious 1969 Roth novel is a monologue of a self-loathing and sexually repressed Jewish man to his psychologist.

He recounts in excruciating detail his efforts to escape his parents’ interference in his life and his lifelong obsession with bedding a "shiksa" (non-Jewish woman). Portnoy’s rants are brilliant, vulgar, and entertaining – though the cultural references are dated and female readers might become incensed at the demeaning descriptions of “Monkey” (the shiksa he finally beds).

In a story I wrote, a man facetiously asks his female friend whether Carrie Bradshaw’s neuroticism and sexual dalliances would make her the “female Portnoy.” Both are insightful, emotionally needy, and charming characters. Behind this novel’s sexual humor is a complex portrait of a man trapped by his own obsessions.