The cover page is adapted from The Temptation of Saint Anthony, a painting completed circa 1550 by Pieter Huys. The cover and title pages feature the League Spartan and Sorts Mill Goudy typefaces created in 2014 and 2009 by The League of Moveable Type. en.wikipedia.org/wiki/Pieter_Huyswww.theleagueofmoveabletype.com/
The Hashish Eater
Capítulos (28)
- Epigraph 0:00
- Preface 0:15
- Introduction 7:07
- I: The Night Entrance 17:22
- II: Under the Shadow of Esculapius 43:23
- III: The Kingdom of the Dream 53:04
- IV: Cashmere and Cathay by Twilight 1:12:26
- V: The Hour and the Power of Darkness 1:44:30
- VI: The Mysteries of the Life-Sign Gemini 2:14:00
- VII: The Night of Apotheosis 2:31:11
- VIII: Vos Non Vobis—Wherein the Pythagorean Is a Bystander 3:01:34
- IX: The Shadow of Bacchus, the Shadow of Thanatos, and the Shadow of Shame 3:43:51
- X: Nimium—The Amreeta Cup of Unveiling 4:01:10
- XI: The Book of Symbols 4:30:04
- XII: Today, Zeus; Tomorrow, Prometheus 4:42:56
- XIII: Idola Theatri and the Prince of Whales 4:58:27
- XIV: Hail! Pythagoras 5:26:44
- XV: “Then Seeva Opened on the Accursed One His Eye of Anger” 5:49:10
- XVI: An Oath in the Forum of Madness 6:19:50
- XVII: Down with the Tide 6:37:58
- XVIII: My Stony Guardian 6:54:23
- XIX: Resurgam 7:06:10
- XX: Leaving the Schoolmaster, the Pythagorean Sets Up for Himself 7:15:43
- XXI: Concerning the Doctor; Not Southey’s, but Mine 7:43:05
- XXII: Grand Divertissement 8:05:13
- XXIII: The Hell of Waters and the Hell of Treachery 8:16:45
- XXIV: The Visionary; To Which Chapter There Is No Admittance Upon Business 8:25:50
- XXV: Cave Succedanea 8:46:51
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When Fitz Hugh Ludlow was in college, he found a jar of cannabis extract at his pharmacy, deduced that this was the fabled “hashish” described in The Arabian Nights and The Count of Monte Cristo, and gave in to his curiosity by swallowing a spoonful. His life would never be the same.
The Hashish Eater attempts to describe the bizarre distortions of perspective and imagination that Ludlow experienced on extraordinarily large doses of cannabis. Because cannabis was mostly unknown in the English-speaking world at that time, he didn’t have the vocabulary to describe his “trips,” and he couldn’t expect his readers to have had similar experiences to compare. Because of this, he tests the limits of metaphor and creative description; and because of that, his work remains an important document to both understanding and poetically revealing the phenomenology of cannabis intoxication.