Fear and Loathing in Las Vegas (novel)
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- For the 1998 film adaptation of the novel, see Fear and Loathing in Las Vegas (film).
| Author | Hunter S. Thompson |
|---|---|
| Publisher | Random House |
| Released | 11 November 1971 and 25 November 1971 |
Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream is a novel by Hunter S. Thompson, illustrated by Ralph Steadman. The story follows its protagonist, Raoul Duke, and his attorney, Dr. Gonzo, as they descend on Las Vegas to chase the American Dream through a drug-induced haze. The novel first appeared as a two-part series in Rolling Stone magazine in 1971. The novel's first sentence reads: "We were somewhere around Barstow on the edge of the desert when the drugs began to take hold."
Contents |
[edit] Plot summary
Journalist Raoul Duke and attorney Dr. Gonzo travel from Los Angeles, California to Las Vegas in 1971 to cover a motorcycle race for a sports magazine and enjoy a haphazardly planned vacation. The vacation turns highly irresponsible and reckless as the two consume copious amounts of illegal drugs, commit various acts of fraud, and generally wreak mayhem upon the citizens of Las Vegas.
Set in Las Vegas (a symbol of both American consumerism and tourism) during the height of the Vietnam War and the closing of the 1960s counter-cultural movement, Duke and Gonzo find themselves as outsiders in a unique position to analyze the present state of America and chase down the “American Dream”.
[edit] Origins
The book is a semi-fictionalized account of Thompson and attorney Oscar Zeta Acosta's actual trip to Las Vegas around the same time period. In real life, Thompson was to cover the Mint 400 motocross race for Sports Illustrated magazine in 1971, for which he was contracted to write photo captions. Coincidentally, he was also commissioned to cover a Las Vegas law enforcement narcotics convention for Rolling Stone magazine.
Before being asked to cover the race, Thompson was in Los Angeles, reporting on the murder of Ruben Salazar and the race riots that resulted from his death. Acosta was a prominent figure in the Chicano community and therefore a natural source for Thompson's story. Finding it difficult for a Hispanic to talk openly to a white reporter in L.A.'s tense atmosphere, Thompson and Acosta decided that Las Vegas would be a more comfortable place to work on the story. Thompson later wrote the majority of Fear and Loathing in a hotel room in Arcadia, California during his spare time while he finished writing the Salazar story for Rolling Stone (later published as Strange Rumblings in Aztlan) [1].
What was intended as a 250-word photo-captioning job/road trip snowballed into a novel-length feature for Rolling Stone magazine in November 1971. Although Rolling Stone publisher Jann Wenner was expecting a story on the Las Vegas narcotics convention, he was said to have liked "the first 20 or jangled pages enough to take it seriously on its own terms and tentatively scheduled it for publication -- which gave me the push I needed to keep working on it," Thompson later wrote. He had first submitted the 2,500 word manuscript to Sports Illustrated, which was, as he later wrote, "aggressively rejected." <ref>Thompson, Hunter (1979). The Great Shark Hunt: Strange Tales from a Strange Time, 1st ed., Summit Books, 105-109. ISBN 0-671-40046-0.</ref>
The text was eventually published as Fear and Loathing in Las Vegas. The novel was heralded as "by far the best book yet on the decade of dope" by the New York Times<ref> Woods, Crawford (July 23, 1972) [2] The New York Times Book Review</ref> and a "scorching epochal sensation" by author Tom Wolfe.
In the book The Great Shark Hunt, Thompson refers to Fear and Loathing in Las Vegas as "a failed experiment in gonzo journalism," a guerrilla style of reporting that Thompson championed and publicized throughout his career. Allegedly based on William Faulkner's idea that "the best fiction is far more true than any kind of journalism — and the best journalists know this," it blends storytelling, fiction, and traditional journalism.
As is true with most of Thompson’s writing, most of the book is based on actual events although the details are altered to such a degree that the work can easily be considered fiction. For example, the novel describes Duke attending both the motorcycle race and the narcotics convention within a few days time. In real life, both events did indeed take place in Las Vegas in 1971, although they took place over a month apart. [3].
[edit] Major themes
The book was an attempt to place the radical activism and drug culture of the 1960s into the context of what was the mainstream American experience at the time. It explores the idea that 1971 was a turning point in hippie and drug culture in America, when the countercultural movement no longer had momentum and its innocence and optimism of the late 1960s turned to cynicism.
Throughout the novel, the main characters go out of their way to degrade, abuse, and destroy symbols of American consumerism and excess. Much of Las Vegas is used to symbolize the ugliness of mainstream American culture, to which the characters give little respect. In the DVD commentary of his film version of the novel, Director Terry Gilliam characterizes these actions as a theme of anarchism.
Some have suggested that the book's themes resemble those of The Great Gatsby, which deals with the state of the American Dream and the lives of the rich and careless. Others have surmised that the white Cadillac Journalist Raoul Duke drives (referred to as the "White Whale" in the book) is an allusion to the white whale in Moby Dick, symbolically representative of good and evil and a metaphor for elements of life that are out of people's control.
[edit] The "wave speech"
The "wave speech" is an important passage that appears about a third of the way through the novel, at the end of the eighth chapter (although the same "speech" is given toward the middle of the film version of Fear and Loathing in Las Vegas). Thompson considered the "wave speech" to be "probably the finest thing I've ever written." It tries to capture the zeitgeist of the hippie era, and the way it came to an end.
| San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run . . . but no explanation, no mix of words or music or memories can touch that sense of knowing that you were here and alive in that corner of time and the world. Whatever it meant. . . .
History is hard to know, because of all the hired bullshit, but even without being sure of "history" it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time — and which never explain, in retrospect, what actually happened. My central memory of that time seems to hang on one or five or maybe forty nights — or very early mornings — when I left the Fillmore half-crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheepherder's jacket . . . booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the toll-gate, too twisted to find neutral while I fumbled for change) . . . but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: No doubt at all about that. . . . There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda. . . . You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. . . . And that, I think, was the handle — that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting — on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. . . . So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark — that place where the wave finally broke and rolled back. |
[edit] References
<references/>
[edit] Editions
[edit] External links
- Fear and Loathing in Las Vegas at the Internet Movie Database
- The Great Thompson Hunt
- Book Review by Nick Christenson
- Las Vegas Sun investigation into the actual historical events surrounding the book. Includes many other FLLV-related articles.de:Fear and Loathing in Las Vegas
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