10 Famous Authors Who Smoke Weed

• Cannabis and literature share a centuries-old connection – From 19th-century Paris to modern America, writers have turned to cannabis for creative exploration and altered perspectives
• The Club des Hashischins hosted hashish salons in 1840s Paris—writers like Alexandre Dumas and Charles Baudelaire documented their experiences and impressions
• Beat Generation writers normalized cannabis in American literature – Allen Ginsberg, Jack Kerouac, and William S. Burroughs made cannabis central to their countercultural literary movement
• Subjective creativity vs. objective output presents a complex relationship – While writers consistently report enhanced creativity at high, research shows high doses actually impair divergent thinking
• Modern authors continue the tradition with greater openness – Contemporary writers discuss cannabis use more freely as stigma decreases and legalization expands
• Cannabis serves specific creative purposes for writers – From aesthetic appreciation to breaking thought patterns, authors use cannabis strategically rather than recreationally
• Dose and context dramatically influence outcomes – Historical accounts show moderate doses often enhance perspective, while high doses can overwhelm or impair
• Herb’s strain guides can help modern creatives find the right cannabis for their writing process – Whether seeking focus for drafting or relaxation for brainstorming, the right strain matters

The prolific author of “The Three Musketeers” and “The Count of Monte Cristo” not only participated in the Club des Hashischins but incorporated cannabis experiences into his writing. His novel “The Count of Monte Cristo” includes references to hashish, reflecting his firsthand knowledge of the substance. Dumas represents how cannabis experiences directly influenced literary content during the 19th century, with writers weaving their altered state experiences into narrative form. His participation in the club alongside other literary giants demonstrates cannabis’s integration into the highest echelons of European literary culture.

The influential French poet and critic penned “The Poem of Hashish,” a detailed account of his experiences with the substance as a member of the Club des Hashischins. Baudelaire described how hashish enhanced his perception of colors and artistic details, noting “exquisitely deep hues… astonishingly harmonious in their juxtaposition.” However, his relationship with cannabis was complex – while documenting its aesthetic benefits, he also warned of its dangers and potential for addiction. Baudelaire’s detailed writings provide one of the earliest and most nuanced literary accounts of cannabis effects, establishing a template for future writers exploring altered states.

The French poet and novelist documented his Club des Hashischins experiences in the Revue des Deux Mondes in 1846, initially describing euphoric effects but ultimately concluding that “the true writer needs only his natural dreams, and he does not like his thought to be influenced by any agent.” Gautier’s evolution from cannabis advocate to skeptic represents an important perspective in the literary cannabis tradition – the concern that external substances might compromise authentic creativity. His detailed early accounts remain valuable historical documentation of 19th-century cannabis experiences, even as his final position questioned its necessity for genuine literary work.

The Beat poet famously stated, “I found it useful for the study of aesthetics. I really don’t dig people using it just for giggling and having parties and getting drunk on it, because it seems that with marijuana you can refine your sense, if you make that your purpose.” Ginsberg didn’t just use cannabis recreationally – he approached it as a serious tool for enhancing perception and artistic appreciation. He testified about cannabis effects at the Massachusetts obscenity trial for “Naked Lunch” and participated in early marijuana rally demonstrations, using his literary platform to advocate for thoughtful cannabis use. His disciplined approach to cannabis as an aesthetic enhancer rather than a mere intoxicant influenced generations of writers.

The author of “On the Road” associated cannabis with spiritual searching and “mystical medicine,” linking it to Eastern philosophy and sensory exploration. For Kerouac and the Beats, cannabis represented a rejection of 1950s conformity and materialism, offering what they called a “kick” – a non-utilitarian experience that opened consciousness. Cannabis facilitated cross-cultural contacts with jazz culture, Mexican culture, and African-American subcultures where cannabis use was more established, directly informing Kerouac’s literary perspective and countercultural sensibilities. His integration of cannabis into both his writing process and worldview exemplifies how the substance became central to the Beat literary movement’s identity.

The author of “Naked Lunch” incorporated cannabis experiences into his groundbreaking literary works, using the substance as both subject matter and creative catalyst. Burroughs’ experimental writing style, characterized by non-linear narratives and cut-up techniques, paralleled the disorienting yet illuminating effects of cannabis and other substances. His work with the Beats normalized cannabis references in American literature, making the plant a legitimate subject for serious literary exploration rather than taboo. Burroughs’ approach to cannabis was deeply connected to his broader interest in consciousness expansion and social critique, positioning the substance as a tool for breaking conventional thought patterns.

The renowned astrophysicist and science communicator wrote a 1971 essay under the pseudonym “Mr. X” extolling cannabis virtues, describing how it “greatly improved my appreciation for art, a subject which I had never much appreciated before.” Sagan noted that cannabis helped him achieve insights into “particularly social questions” and produced “a feeling of communion with my surroundings, both animate and inanimate.” His essay, published in “Reconsidering Marijuana,” argued that “The illegality of cannabis is outrageous, an impediment to full utilization of a drug which helps produce the serenity and insight, sensitivity and fellowship so desperately needed in this increasingly mad and dangerous world.” Sagan’s secret advocacy demonstrates how even the most respected scientific minds found value in cannabis for creative and philosophical exploration.

The celebrated poet and memoirist wrote that cannabis allowed her to experience “playing with my son was side-cracking hilarity. For the first time, life amused me.” Angelou described disciplined cannabis use – “One joint on Sunday and one on the morning of my day off” – demonstrating a thoughtful approach rather than recreational excess. She credited cannabis with helping her overcome childhood trauma and reach “a point in her life where she was able to thrive.” Angelou’s perspective highlights cannabis’s potential role in emotional processing and healing, suggesting the substance facilitated her ability to access and articulate profound emotional truths in her literary work.

The gonzo journalist and author of “Fear and Loathing in Las Vegas” stated in interviews that cannabis helped him generate ideas: “You smoke a joint, you put on some music, you listen to it, and you come up with some good ideas.” Thompson’s approach to cannabis was practical and process-oriented – he used it specifically during the ideation phase rather than for final drafting or editing. This strategic application demonstrates how some writers compartmentalize cannabis use for specific creative functions rather than throughout their entire writing process. Thompson’s integration of cannabis into his creative routine reflects his broader philosophy of using altered states as tools for accessing unconventional perspectives.

An American author and journalist, Ludlow wrote The Hasheesh Eater (1857), an explicitly first-person memoir of his repeated ingestion of a cannabis extract (hashish) and the vivid psychological, sensory, and philosophical experiences that followed. Framed as “passages from the life of a Pythagorean,” the book details doses, onsets, euphoria and terror, and his eventual cautionary stance—making it one of the earliest full-length works of American drug literature and a touchstone for later writers.

Historical and contemporary accounts reveal that successful writers often use cannabis strategically rather than indiscriminately. Carl Sagan used it specifically for aesthetic appreciation, Maya Angelou maintained disciplined weekly use, and Hunter S. Thompson employed it during idea generation phases. This strategic approach suggests that cannabis works best when integrated thoughtfully into specific aspects of the creative process rather than used continuously. Modern writers can learn from this historical pattern by considering which aspects of their writing might benefit from altered perspectives – brainstorming, reviewing, or aesthetic appreciation – while maintaining sobriety for technical execution phases. Systematically studying hashish effects can help writers identify cannabis varieties that support specific creative functions, from focus-enhancing sativas to relaxation-inducing indicas.

While writers consistently report enhanced creativity while using cannabis, recent research complicates this narrative. A University of Virginia study found that “cannabis-induced joviality did not lead to more actual creativity,” despite users rating their work more highly while intoxicated. Similarly, a 2015 study showed that high-potency cannabis (22mg THC) significantly impaired divergent thinking compared to low-dose or placebo groups. This paradox suggests that cannabis may enhance the subjective experience of creativity and reduce self-criticism without actually improving objective creative output. Writers might benefit from using cannabis during exploratory or review phases when fresh perspectives are valuable, but maintaining sobriety during initial creation when cognitive precision matters most.

Historical accounts show that successful literary cannabis use was rarely isolated – it was integrated into broader creative practices. Allen Ginsberg combined cannabis with meditation and Eastern philosophy. Carl Sagan paired it with music listening and art viewing. The Club des Hashischins members embedded cannabis sessions within philosophical discussion and artistic appreciation. This contextual approach suggests that cannabis works best as one element in a rich creative ecosystem rather than a standalone solution. Modern writers exploring cannabis should consider how it fits within their existing creative practices – whether that’s music, reading, nature walks, or social discussion – rather than expecting the substance alone to generate creativity. Herb’s guides can help writers integrate cannabis thoughtfully into their creative routines while staying within legal boundaries.

Public disclosures vary by individual and jurisdiction. Many writers historically have discussed their cannabis use openly in primary sources (e.g., poems, memoirs, interviews). For living authors, disclosures can change over time; readers should rely on first-person statements or reputable interviews rather than speculation.

Some contemporary writers have discussed using cannabis in creative contexts, but rigorous evidence on creativity is mixed. Research suggests cannabis can increase perceived creativity, while higher doses can impair tasks like divergent thinking. In short: effects are dose-, context-, and person-dependent.

Reported benefits include altered perspective, reduced self-criticism, and heightened aesthetic appreciation—useful for brainstorming or review. Potential downsides include impaired short-term memory, attention, and complex problem-solving, especially at higher doses. Many writers who report benefits use cannabis strategically for specific phases rather than continuously.

Yes. Two seminal first-person accounts are Fitz Hugh Ludlow’s The Hasheesh Eater (1857) and Carl Sagan’s “Mr. X” essay in Marihuana Reconsidered (1971). Both works describe the authors’ own cannabis experiences in detail, making them valuable primary sources. They’re frequently cited in discussions of cannabis and creativity across literary and scientific contexts.

While historical authors didn’t have access to modern strain varieties, contemporary writers often seek sativa-dominant strains for focus and brainstorming sessions. Strain guides can help creative professionals identify varieties that support specific cognitive functions, from uplifting sativas for idea generation to balanced hybrids for sustained creative work. However, individual responses vary significantly, and writers should start with low doses to assess personal tolerance and effects.

Cannabis legality varies dramatically by jurisdiction, and writers must comply with local laws. Even in legal states, workplace policies may prohibit cannabis use, and federal illegality creates complications for authors working with major publishers or institutions. Writers should research local regulations through cannabis legalization news and consider professional implications before incorporating cannabis into their creative routines.