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Its popularization of Thompson's highly subjective blend of fact and fiction has become known as gonzo journalism.
The novel first appeared as a two-part series in Rolling Stone magazine in , and was published as a book in Gonzo, respectively. Thompson was using Acosta—a prominent Mexican-American political activist and attorney—as a central source for the story, and the two found it difficult for a brown-skinned Mexican to talk openly with a white reporter in the racially tense atmosphere of Los Angeles, California.
The two needed a more comfortable place to discuss the story and decided to take advantage of an offer from Sports Illustrated to write photograph captions for the annual Mint desert race being held in Las Vegas from March 21—23, Thompson wrote that he concluded their March trip by spending some 36 hours alone in a hotel room "feverishly writing in my notebook" about his experiences.
What originally was a word photo caption assignment for Sports Illustrated grew to a novel-length feature story for Rolling Stone ; Thompson said publisher Jann Wenner had "liked the first 20 or so 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.
Besides attending the attorneys' conference, Thompson and Acosta looked for ways in Vegas to explore the theme of the American Dream, which was the basis for the novel's second half, to which Thompson referred at the time as "Vegas II".
On April 29, , Thompson began writing the full manuscript in a hotel room in Arcadia, California, in his spare time while completing " Strange Rumblings in Aztlan ," the article chronicling the death of Salazar.
The novel lacks a clear narrative and frequently delves into the surreal, never quite distinguishing between what is real and what is only imagined by the characters.
The basic synopsis revolves around journalist Raoul Duke Hunter S. Thompson and his attorney, Dr. Gonzo Oscar Zeta Acosta , as they arrive in Las Vegas in to report on the Mint motorcycle race for an unnamed magazine.
However, this job is repeatedly obstructed by their constant use of a variety of recreational drugs, including LSD , ether , cocaine , alcohol , mescaline , and cannabis.
This leads to a series of bizarre hallucinogenic experiences, during which they destroy hotel rooms, wreck cars, and have visions of anthropomorphic desert animals, all the while ruminating on the decline of both the "American Dream" and the '60s counterculture in a city of greed.
The preface quotes Samuel Johnson : "He who makes a beast of himself gets rid of the pain of being a man. The contradiction of "solace in excess" is thematically similar to The Great Gatsby.
Thompson posits that his own drug use unlike Timothy Leary 's mind-expansion experimentation drug use is intended to render him a mess; [ citation needed ] that he is the poster boy of a generation of "cripples and seekers Throughout Fear and Loathing in Las Vegas , the protagonists go out of their way to degrade, abuse, and destroy symbols of American consumerism and excess, while Las Vegas symbolizes the coarse ugliness of mainstream American culture.
The "wave speech" is an important passage at the end of the eighth chapter that captures the hippie zeitgeist and its end.
Strange memories on this nervous night in Las Vegas. Five years later? It seems like a lifetime, or at least a Main Era—the kind of peak that never comes again.
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 there 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 Lightning across the Bay Bridge at a hundred miles an hour wearing 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 There was madness in any direction, at any hour.
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.
Thompson often cited this passage during interviews, choosing it when asked to read aloud from the novel. Fear and Loathing in Las Vegas is Thompson's most famous work, and is known as "Fear and Loathing" for short; however, he later used the phrase "Fear and Loathing" in the titles of other books, essays, and magazine articles.
Moreover, "Fear and Loathing", as a phrase, has been used by many writers, the first possibly being Friedrich Nietzsche in The Antichrist.
In a Rolling Stone magazine interview, Thompson said: "It came out of my own sense of fear, and [is] a perfect description of that situation to me, however, I have been accused of stealing it from Nietzsche or Kafka or something.
It seemed like a natural thing. He first used the phrase in a letter to a friend written after the Kennedy assassination , describing how he felt about whoever had shot President John F.
The title is a reference to a line from Philippians When it was published in fall of , many critics did not like the novel's loose plot and the scenes of drug use; however, some reviewers predicted that Fear and Loathing in Las Vegas would become an important piece of American literature.
In The New York Times , Christopher Lehmann-Haupt told readers to not "even bother" trying to understand the novel, and that "what goes on in these pages make[s] Lenny Bruce seem angelic"; instead, he acknowledged that the novel's true importance is in Thompson's literary method: "The whole book boils down to a kind of mad, corrosive prose poetry that picks up where Norman Mailer 's An American Dream left off and explores what Tom Wolfe left out".
As the novel became popular, the reviews became positive; Crawford Woods, also in The New York Times , wrote a positive review countering Lehmann-Haupt's negative review: the novel is "a custom-crafted study of paranoia, a spew from the s and—in all its hysteria, insolence, insult and rot—a desperate and important book, a wired nightmare, the funniest piece of American prose"; and "this book is such a mind storm that we may need a little time to know that it is also literature In Billboard magazine, Chris Morris said, "Through Duke and Gonzo's drug-addled shenanigans amid the seediness of the desert pleasure palaces, it perfectly captured the zeitgeist of the post—'60s era".
Gilmore believes that "the fear and loathing Thompson was writing about—a dread of both interior demons and the psychic landscape of the nation around him—wasn't merely his own; he was also giving voice to the mind-set of a generation that had held high ideals and was now crashing hard against the walls of American reality".
Cormac McCarthy has called the book "a classic of our time" and one of the few, great modern novels. In the book The Great Shark Hunt , Thompson refers to Fear and Loathing in Las Vegas as "a failed experiment in the gonzo journalism " he practiced, which was based on William Faulkner 's idea that "the best fiction is far more true than any kind of journalism—and the best journalists have always known this".
He called it a failed experiment because he originally intended to record every detail of the Las Vegas trip as it happened, and then publish the raw, unedited notes; however, he revised it during the spring and summer of For example, the novel describes Duke attending the motorcycle race and the narcotics convention in a few days' time; the actual events occurred a month apart.
Nevertheless, critics call Fear and Loathing Thompson's crowning achievement in gonzo journalism. For example, journalist and author Mikal Gilmore said the novel "feels free wheeling when you read it [but] it doesn't feel accidental.
The writing is right there, on the page—startling, unprecedented and brilliantly crafted". The original version of the novel was published in Rolling Stone magazine under the byline "Raoul Duke".
The book was published with Thompson's name as the author. In chapter 8 of part I, Thompson tells a story about his neighbor, "a former acid guru who later claimed to have made that long jump from chemical frenzy to preternatural consciousness".
In the Rolling Stone article the neighbor was identified as "Dr. In the book version, the name and the street were redacted "at insistence of publisher's lawyer".
In the book version he is only identified as "a former Astronaut" and his name is, again, redacted "at insistence of publisher's lawyer".
British artist Ralph Steadman added his unique and grotesque illustrations to the Rolling Stone issues and to the novel.
Many critics have hailed Steadman's illustrations as another main character of the novel and companion to Thompson's disjointed narrative.
The New York Times noted that "Steadman's drawings were stark and crazed and captured Thompson's sensibility, his notion that below the plastic American surface lurked something chaotic and violent.
The drawings are the plastic torn away and the people seen as monsters. As a result of that transaction Steadman has largely refused to sell any of his original artwork and has been quoted as saying "If anyone owns a Steadman original, it's stolen.
The artist has kept possession of the vast bulk of his artwork.