Fear and Loathing in Las Vegas pdf

Fear and Loathing in Las Vegas pdf

Fear and Loathing in Las Vegas


About the book:

Fear and Loathing in Las Vegas book

Author:                        Hunter S. Thompson

Publisher:                    Vintage; 2nd edition

Publish date:               May 12, 1998

ISBN-10:                      679785892

ISBN-13:                      9780679785897

Pages:                          204 (ebook pages can be different)

Language:                   English

Genres:                       Gonzo journalism



The book is about that twisting. Like Thompson’s American dream is a display of decorative fantasy. It should not, despite its proactive title, be mistaken for an outline of the American experience. But its bounds are no finer than the bounds of lunacy, and its way is as exciting as any to be found in all the free-fire-zone writing of the past 12 years.

“Writing” is as precise a label as the book will carry. Neither novel nor factual, it arrives with fashion’s special consent. Its origins are in the actual sense of the nineteen-sixties that a new voice was demanded. By the way people’s private and public lives were coming together in a sensory fear state, with wasting its meat and potatoes, grass and acid its spice. How to tell the story of a time when all literature was science fiction, all facts deceits? The New Journalism was born. This book is such a mind blizzard that we may need a little time to know that it is also, ting! Literature.

Similar thing happened with Henry Miller, with whom Thompson has perhaps even more affinity than with Burroughs. Hero of all his books, drowning in sex and drink, Miller makes sanctified what Thompson makes vital: appetite. In both writers, the world is eminent/criticized through the senses. But the taste of the one is for mutiny, of the other for disaster writ small.

Besides artistry, it is a humbly eschatological vision that boosts “Fear and Loathing” from the class of mere jazzy nostalgia. It reveals a tale of the nineteen-sixties pleasant to those of us who lived them in a mood. Perhaps more sensational than astute of social discord, weird politics and the chemical feast. And it does so in language that withdraws neither into the watery sociology of the newspapers nor the zoo-Zen of the more orally hip. Far out. Thompson trusts the power of his senses, and the simplicity of a brain composed between braininess and exhaustion.

The book’s top art is to be the drug it is about, whether chemical or political. To read it is to sway through the highs and lows of the smokes and liquids that explode the mind, to endure again the fear of the politics of unreason. Since plan has been scuffled, the entire thing must be done in the details, in cameo outlines and odd encounters that flash and fade into the background of the reader’s imagination. These details are technically exact, which is a modern form of literary exactness, with all uncertainty intact.

Similar accuracy is conserved in the use of drugs as symbol. The proposition is that to drop acid in 1966 was to pursue the flower at the heart of the cosmos, but to shoot heroin in 1972 is to pelt from the pain of the President’s face. Dope, once magical, private and ecstatic has become just one more way to kiss goodbye. It’s a must read for the fans of  Thompson.

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