Upon This Rock
Feet in Smoke
Mr. Lytle: An Essay
At a Shelter (After Katrina)
Getting Down to What is Really Real
Michael
The Final Comeback of Axl Rose
American Grotesque
La'Hwi'Ne'Ski: Career of an Eccentric Naturalist
Unnamed Caves
Unknown Bards
The Last Wailer
Violence of the Lambs
Peyton's Place

A New York Times Notable Book for 2011
One of Entertainment Weekly's Top 10 Nonfiction Books of the Year 2011
A Time Magazine Top 10 Nonfiction book of 2011
A Boston Globe Best Nonfiction Book of 2011
One of Library Journal's Best Books of 2011

A sharp-eyed, uniquely humane tour of America's cultural landscape-from high to low to lower than low-by the award-winning young star of the literary nonfiction world.
In Pulphead, John Jeremiah Sullivan takes us on an exhilarating tour of our popular, unpopular, and at times completely forgotten culture. Simultaneously channeling the gonzo energy of Hunter S. Thompson and the wit and insight of Joan Didion, Sullivan shows us-with a laidback, erudite Southern charm that's all his own-how we really (no, really) live now.
In his native Kentucky, Sullivan introduces us to Constantine Rafinesque, a nineteenth-century polymath genius who concocted a dense, fantastical prehistory of the New World. Back in modern times, Sullivan takes us to the Ozarks for a Christian rock festival; to Florida to meet the alumni and straggling refugees of MTV's Real World, who've generated their own self-perpetuating economy of minor celebrity; and all across the South on the trail of the blues. He takes us to Indiana to investigate the formative years of Michael Jackson and Axl Rose and then to the Gulf Coast in the wake of Katrina-and back again as its residents confront the BP oil spill.
Gradually, a unifying narrative emerges, a story about this country that we've never heard told this way. It's like a fun-house hall-of-mirrors tour: Sullivan shows us who we are in ways we've never imagined to be true. Of course we don't know whether to laugh or cry when faced with this reflection-it's our inevitable sob-guffaws that attest to the power of Sullivan's work.