Much recent science fiction, however, taking cognizance of such newly popular drugs as LSD, marijuana, and mescaline, show society transformed, enhanced, and raised up by drug use. Silverberg’s _A Time of Changes_ (1971) portrays a dour, self-hating culture into which comes a drug that stimulates direct telepathic contact between human minds and brings into being a subculture of love and openness. This creates a great convulsion in the society, but the implication is that the change the drug brings is beneficial. Similarly, in Panshin’s _How Can We Sink When We Can Fly?_ (1971), a drug called _tempus_ that induces travel in time is part of the educational process of a future society. In _The Peacock King_ by McCombs and White (1965) LSD is used as a training device to prepare astronauts for the rigors of interstellar travel, and in H. H. Hollis’ _Stoned Counsel_ (1972) hallucinogenic drugs have become routine aspects of courtroom work. Another view of a society transformed but not necessarily injured by mass drug use is Wyman Guin’s _Beyond Bedlam_, dating from 1951, in which schizophrenia is desired and encouraged and is induced by drugs. In Silverberg’s _Downward to the Earth_ (1971) hallucinogens play a part in ecstatic religion on another world. A variant of the mind-expanding drug is the intelligence-enhancing drug, long a common theme in science fiction. Some recent exponents of the theme are Brunner’s _The Stone That Never Came Down_ (1973), Dickson’s _The R-Master_ (1973), and Disch’s _Camp Concentration_ (1968). Not all depiction of drugs in recent science fiction is sympathetic, of course. Aldiss’ _Barefoot in the Head_ (1970) shows all of Europe thrown into confusion by the “acid-head war,” in which an Arab power doses the whole continent with psychedelic weapons. (Aldiss does indicate at least peripherally that the new tripped-out culture emerging in war-wrecked Europe is not entirely inferior to its predecessor.) Chester Anderson’s lighthearted _The Butterfly Kid_ (1967) depicts hallucinogenic drugs as weapons employed by aliens, whether mind-expanding, mind-contracting, or mind-controlling. In the horrendously overpopulated future of Harry Harrison’s _Make Room! Make Room!_ (1966), LSD and marijuana are the best available escapes from the daily nightmare that is life; in a similarly crowded world imagined by Doris Pitkin Buck in _Come Where My Love Lies Dreaming_ (1964) the drug of choice is nothing we have today, but rather one that gives the user the vicarious experience of existence as a dinosaur! However different the details, though, the stories say the same thing: that fortitude is not enough, that chemical assistance will be needed.