I recently received an email from a writer by the name of Brian Kevin who is currently on an epic trek across South America as part of his latest book project. I was intrigued to learn that he is attempting to retrace the route that Hunter S. Thompson took when he travelled around South America between 1962 & 1963, no mean task and one that will take Brian the first half of 2012 to complete. He has already secured a book contract with a division of Random House and he expects that his work – The Footloose American: Following the Hunter S. Thompson Trail through South America – will be published in the spring of 2013.
Brian first got the idea for this project a few years ago, when he visited Columbia and travelled the route that Thompson took across the country in 1962, when he arrived in South America to report for the National Observer. It is a period in Thompson’s life that interests Brian and one that he has always felt gets short shrift in terms of the various books and documentaries out there.
According to Brian, this book is not going to be a biography as such but rather a narrative travelogue:
(excerpt from email – I trust Brian doesn’t mind that I quote him directly here)
“I’m interested in how Thompson’s time in South America shaped him as a writer and a social critic who would come to fame years later. But I’m also interested in “following up” on the topics he covered fifty years back — resource extraction, the marginalization of indigenous peoples, the allure of leftist populism, and the consequences of dramatic income inequality. All topics that remain super relevant in Latin America today (and, I suppose, back at home, too). My thesis, in part, is that Thompson found something here that took him off the path of a Lost Generation dilettante novelist and put him onto his famous beat, “the death of the American dream.” He said as much towards the end of his trip, writing in a letter, “The main thing I’ve learned is that I now understand the United States, and why it will never be what it could have been, or at least tried to be.””
To whet our appetite Brian was kind enough to share a very cool piece of Gonzo history that he managed to unearth already and is a testament to his detective work and dedication. Below is a copy of the front page of the El Heraldo of Barranquilla, dated May 26, 1962. In The Proud Highway Hunter mentions that his arrival in Columbia made it onto the social page of the daily paper in Barranquilla. Thanks to Brian Kevin we can now all see this little write up for ourselves. The paper was sitting in an archive all these intervening years, yellowed by time, as it was never archived in a digital format.
(Full Page – Click on image to enlarge)
(Close up of column – Click on image to enlarge)
I have to say it was great to receive this material from Brian as I am currently writing about this period of Thompson’s life in my PhD thesis. I am really looking forward to his book and I have to say that research of this dedication is a very welcome addition to the Hunter S. Thompson & Gonzo community. Brian has also added a number of posts to his blog documenting his time in South America and the above is only the first of many cool observations and discoveries that he has made down there. To see what I am talking about, check out his blog here – A Footloose American
Ok for now,
“This is my life,
So watch it, babe.
Don’t try to keep me tied.”
And I Like It –JeffersonAirplane
In the ever expanding list of biographies and memoirs about Hunter S. Thompson, this latest offering, Keep This Quiet! by Margaret A. Harrell, is quite simply a breath of fresh air. This is by no means intended as a slight against previous publications, the majority of which are solid and have contributed much to our understanding of Hunter S. Thompson – the man and the myth. However, what sets Keep This Quiet! apart is the extent to which Harrell explores the question of identity and myth, in her quest to simultaneously answer questions concerning her own character and that of one Hunter S. Thompson. As Harrell writes early on – “Who was he? There was no indication how complicated that answer was.”
Keep This Quiet! is a fascinating memoir in this regard, one that is multi-faceted in terms of Harrell’s own journey of self-discovery, both in a personal and artistic sense and the manner in which this is mirrored by the events of the period, with the tumultuous Sixties marking a nation tragically losing its innocence courtesy of the assassins bullet and the toil of war. It is also, of course, a time of exuberant creativity and this is evident throughout, with Harrell also detailing her relationship with “poète maudit” Jan Mensaert andGreenwich Village “poet genius” Milton Klonsky. Working at Random House placed Harrell at the centre of a literary world and this is reflected by the many different characters that make an appearance – from Hunter’s oldest friends William Kennedy and David Pierce to non other than Oscar Zeta Acosta, of whom Harrell includes rare letters that he sent to her concerning getting published at Random House.
It is Harrell’s insight into the development of Thompson both as an author and a character that truly set this memoir apart. There are two quotes in particular that illustrate this understanding – the first is a quote of Thompson’s that Harrell singles out as key to understanding his motivation as an author (incidentally one that I have also identified in my PhD – a nice bit of synchronicity):
“The psychology of imposition…the need to amount to something”…”if only for an instant, the image of the man is imposed on the chaotic mainstream of life and it remains there forever: order out of chaos, meaning out of meaninglessness.”
The above quote comes from a letter in The Proud Highway and Harrell is absolutely correct in singling it out for its importance. As Harrell states – “Like Faulkner, Hunter wanted to leave his life in stone tablets, mark time with a sign KILROY WAS HERE.” To understand this in relation to Hunter and how it shaped his creative development is absolutely essential.
In closing, this book is a joy to read, particularly for anyone that has that urge to express themselves through the creative arts in all their forms. In terms of its importance to the Hunter S. Thompson world I would have to say that there are not many other books out there that have the same intimate understanding of the man behind the myth. Keep This Quiet is not just a reflection on the past but also a rediscovery of that period, with a new understanding of the events and the people that populated that particular corner of the era of rapid change and growth, one of both personal discovery and cultural revolution, whose effects to this day are still rippling across the consciousness of the American psyche.
PS: I meant to post this review ages ago but I have been crazy crazy busy with my PhD. I hope to also post a review of the upcoming record from Paris Records – The Kentucky Derby is Decadent and Depraved and also report on the trip of a wayward American in South America. Stay tuned!
He disappeared in the dead of winter: The brooks were frozen, the airports almost deserted, The snow disfigured the public statues; The mercury sank in the mouth of the dying day. What instruments we have agree The day of his death was a dark cold day. Far from his illness The wolves ran on through the evergreen forests, The peasant river was untempted by the fashionable quays; By mourning tongues The death of the poet was kept from his poems. But for him it was his last afternoon as himself, An afternoon of nurses and rumours; The provinces of his body revolted, The squares of his mind were empty, Silence invaded the suburbs, The current of his feeling failed; he became his admirers. Now he is scattered among a hundred cities And wholly given over to unfamiliar affections, To find his happiness in another kind of wood And be punished under a foreign code of conscience. The words of a dead man Are modified in the guts of the living. But in the importance and noise of to-morrow When the brokers are roaring like beasts on the floor of the Bourse, And the poor have the sufferings to which they are fairly accustomed, And each in the cell of himself is almost convinced of his freedom, A few thousand will think of this day As one thinks of a day when one did something slightly unusual. What instruments we have agree The day of his death was a dark cold day. (from In Memory of Yeats - W.H. Auden) A message from Owl Farm
I have been eagerly looking forward to this book, as have a lot of people, ever since it first appeared on the horizon over three years ago. Originally slated for release in November 2008, it suddenly vanished off the radar as quickly as it had appeared, with no explanation whatsoever from the publisher. Having finally received a copy of this book before Christmas, all I can say is that it is a pity it didn’t remain in the wilderness for good. In short this book is an utter disgrace.
I cannot fathom what Jann Wenner was thinking when he decided to publish this book. You might of course be wondering why on earth I would have this opinion? This is of course perfectly reasonable, given Hunter’s long and illustrious history with Rolling Stone, the publication in which his greatest work appeared. Yet reason had little to do with this latest offering.
In what can only be described as a decision of breathtaking arrogance, Jann Wenner, with the help of Paul Scanlon, decided to severely edit Hunter’s original prose. I am not just talking about taking excerpts from the original articles – that might actually have been a sensible move considering the length of some of his work. Instead however, what is contained in the pages of this collection can only be described as a kind of horrific experiment gone wrong, FrankenGonzo if you like, starring Jann Wenner as the crazed creator holed away in a workshop of filthy creation. The result of his efforts of course is a creature of monstrous ugliness.
It is hard not to form this impression when you see the heavy handed dissection of Hunter’s work. The original flow of his writing is all but destroyed, with paragraph after paragraph hacked away in favour of this new re-imagined beast. Take Strange Rumblings in Aztlan for example, the entire first page or so has vanished in favour of an opening line that comes from the middle of a paragraph on the second page of the original article. Actually, what Wenner does here is to combine two of Hunter’s sentences into a shorter opening statement. So basically the first sentence you read never even really existed in that form. Of course, Wenner might point to a letter from Hunter, dated February 10th 1971, in which Hunter questions the editing of the piece and admits that the chronology is scrambled. However, there is nothing that justifies the crazed butchery that takes place with the remainder of the material in this book.
Apart from The Battle of Aspen and a section from Fear and Loathing in Las Vegas, what is presented as “The Essential Hunter S. Thompson”, is in fact quite the opposite. There is absolutely no point to this collection at all. Why would anyone want an edited version of Hunter’s original prose? It is like taking Hamlet and deciding to edit out the soliloquies, or releasing a new version of Gonzo: The Art by Ralph Steadman with a new colour scheme selected by Jann Wenner. I also find it amusing that Wenner decided to include Mistah Leary, He Dead, Hunter’s obituary for Timothy Leary, which he describes as “a proper RS send-off”. The original article was published in issue 740, August 8th 1996. If you have trouble finding it in that issue that is because it was buried away in the letters section, as if submitted by a reader. Funny how time changes a person’s perspective. (Personally I always liked the piece and was baffled at its original location in issue 740)
As for Fear and Loathing at the Super Bowl it is so heavily edited the only explanation I can think of is that Wenner turned the article over to a bunch of giddy interns who had just discovered the delete button. It is utterly unrecognizable.
To make matters worse, Jann Wenner’s feeble attempt to explain away this thoroughly misguided quackery is nothing short of an insult to Hunter’s loyal readers.
“I’ve always thought that Hunter had, in a sense, written his own autobiography in the pages of Rolling Stone, and that if there was a way to take his collected work and edit it properly, there would emerge a narrative of Hunter’s great and wild life, a story about himself, who was, after all, his own greatest character.”
Let is all take a moment to bow down to this genius revelation courtesy of Jann Wenner. Where would we be without the blessing of his visionary insight into Hunter’s life and work? I for one am thankful that he could spare a minute to take Hunter’s work and “edit it properly”, and yes I mean a minute. There is no other way that you could explain this drivel.
Ok in closing all I will say is this. Don’t waste your hard earned money on this book, if you want to read the essential Hunter S. Thompson, then pick up The Gonzo Papers Anthology or The Great Shark Hunt. At least you will have Hunter’s original work, unblemished as he intended.
Today marks the 40th anniversary of the publication of Fear and Loathing in Las Vegas (part 1) in the pages of Rolling Stone magazine, with part 2 being published on the 25th of November 1971.
Below is an article that was originally published in the excellent literary magazine Beatdom in which I examine the legend of Raoul Duke. Click on the more link to read the full article.
Sympathy for the Devil?
Reconsidering the Legend of Raoul Duke on the 40th Anniversary of Fear and Loathing in Las Vegas
“He who makes a beast of
himself gets rid of the pain of
being a man”
- Dr. Johnson (epigraph to Fear and Loathing in Las Vegas)
Early spring 1971 and the first rays of the rising sun creep into a room at the Ramada Inn just outside Pasadena California, where one Hunter S. Thompson is holed up, crouched over his IBM Selectric, hands flashing back and forth over the keys, as though directing a kind of demented orchestra. The words flow faster and faster, a chaotic hell broth of paranoia and insanity that would culminate in one of the most original, hilarious and celebrated statements on the sixties drug culture – Fear and Loathing in Las Vegas. Thompson’s dissection of the dark side of the American Dream would catapult him to rock star status overnight and confirm his status as the infant terrible of the literary world. Through the pages of Rolling Stone he unleashed upon an unsuspecting American public what is undoubtedly his greatest artistic creation, not Gonzo Journalism as many would have you believe, but rather his compelling and brilliantly subversive literary persona – the Hunterfigure – as best exemplified through the guise of Raoul Duke.
What followed for Thompson was an almost Jekyll and Hyde relationship with his literary alter ego, a continuous symbiotic state of co-existence with the monstrous and unruly Duke, for good or ill. Such was the enduring power of the character, heightened by Ralph Steadman’s darkly captivating illustrations, that the public perception of Thompson became truly distorted, unable to distinguish between the serious author and the myth of the drug crazed Gonzo Journalist. Of course, Thompson deliberately contributed to this confusion, blurring the boundary between author and character to such an extent that the ensuing confusion was inevitable. Such was his method actor-like approach to the persona, spanning almost his entire literary oeuvre, that one can be forgiven for being unable to identify the thin line of differentiation between his public image and private self.
In many ways it is this aspect of the Raoul Duke phenomena that has come to define Thompson’s career – with a distinct marker separating the period prior to Fear and Loathing in Las Vegas, from that which subsequently followed, wherein the myth superseded the man. Of course Thompson was acutely aware of the dilemma that the Duke persona presented for him following the success of Fear and Loathing in Las Vegas and its immediate follow-up, Fear and Loathing: On the Campaign Trail ’72. As his output as a writer slowed, his critics accused him of becoming enslaved by the Duke persona, not to mention being creatively burnt out. Thompson himself broached the issue in the author’s note of The Great Shark Hunt, in which he confessed that the anthology marked a milestone in his career:
I feel like I might as well be sitting here carving the words to my own tombstone…and when I finish, the only fitting exit will be right straight off this fucking terrace and into the fountain, 28 stories below and at least 200 yards out in the air and across Fifth Avenue. Nobody could follow that act. Not even me…H.S.T. #1, R.I.P. 12/23/77
Thompson’s frustration as a writer was also evident during this same period in the hour long BBC documentary Fear and Loathing in Gonzovision, as part of which he returned to Las Vegas, accompanied by Ralph Steadman. Though Thompson wilfully participated in the film, he was not entirely comfortable with the idea, aware that there was an underlying presumption that he was somehow going to deliver a sequel to the events described in his classic work, once more running amok in a drug-crazed frenzy on the Las Vegas strip, only this time in front of a film crew. Yet again the misconception surrounding his literary persona had come to dominate proceedings, an issue that Thompson attempted to clarify somewhat when asked as to whether there was any pressure on him to live up to the image he had created:
Well there certainly has, I mean you have been putting it on me all week…I’m not sure at all what you think you are shooting…I have no idea whether you think you are making a film about Duke or Thompson. That’s a serious point, I’m never sure which one people expect me to be and very often they conflict, most often as a matter of fact with people I don’t know, I’m expected to be Duke more than Thompson…I’ve been using Duke for 10 years, maybe more, I began to use him originally as a vehicle for quotations that nobody else would say, that was me really talking, those were my quotes…I’m really in the way as a person, the myth has taken over…I’m no longer necessary, I’m in the way. It would be much better if I die. Then people could take the myth and make films.
This year marks the 40th anniversary of the publication of Fear and Loathing in Las Vegas and yet the discourse surrounding Thompson’s seminal work has changed little – largely still centred upon Raoul Duke and Dr. Gonzo’s astronomical drug consumption and withered analysis of the American Dream. Duke, of course, looms larger than ever, aided in no small part by the tour de force that is Johnny Depp’s portrayal of the character in Terry Gilliam’s cinematic adaptation, which in itself has attracted a sizeable cult of worship. Just as in Thompson’s own lifetime, the drug crazed Raoul Duke persona overshadows the brilliance behind its very creation. In retrospect, Thompson’s remarks to the BBC now appear to be particularly salient.
That Thompson is still largely misunderstood as a writer is unsurprising though, as there is a long standing pattern of ignoring the thought process behind his greatest work. More often than not, the trajectory of critical analysis has focused on the cult of personality surrounding Thompson and that of his legendary drug consumption, coupled with the subsequent effect of these influences on his writing. Rarely does it pause to reflect on just how and why Thompson came to that point in the first place. There is a wealth of material that pinpoints The Kentucky Derby is Decadent and Depraved as marking the birth of Gonzo Journalism, but there is a dearth of analysis on the seeds that were planted along the way. The same goes for Duke, with little discussion of the various incarnations of the Hunterfigure prior to his most infamous outing in the pages of Rolling Stone. Yet it is an essential task and one that does not lead to an undermining of Thompson’s as a writer. In particular by investigating the narrative genealogy of the Hunterfigure we can discover new layers of meaning to every facet of his writing and thus extend the discourse far beyond the current narrow parameters.
Ironically it is the very topic that has overshadowed the genius in Fear and Loathing in Las Vegas that offers the first clue as to why Thompson felt compelled to create the Hunterfigure and make him a paragon of gross excess. The infamous epigraph at the start of this article returns us to familiar territory – that of the role of drugs in the Gonzo narrative. The quote from Dr. Johnson has now become synonymous with Fear and Loathing in Las Vegas and the rampant consumption of drugs by Raoul Duke and Dr. Gonzo as they travel across the desert to the very bowels of Las Vegas in search of the American Dream. To date, the significance of the quote has largely been confined to the relationship with the central thematic message of the story. However its deeper meaning in relation to Thompson’s life and work has been all but ignored, which is surprising given that the sentiment behind it, particularly in relation to the latter half of the quote, is tied so closely to understanding his need to create a fictive persona. In order to illustrate this, it is necessary to first take a step backwards and examine Thompson’s early life in Louisville, Kentucky, before subsequently discussing key aspects in the evolution of the Hunterfigure. Read more…
Received a much appreciated heads-up recently on this project from Ethan Persoff who was lucky enough to get a pre-release listen courtesy of Michael Minzer, owner of Paris Records. Ethan wrote a great piece a while back about the company and their work (material by Burroughs, Ginsberg etc) which you can read here.
As for the Kentucky Derby record, here is what Ethan has to say:
“ The album (a seven year effort) is a line-by-line rendition of the original article that Thompson wrote for Scanlan’s. Cast is Hunter S. Thompson played by Tim Robbins, Ralph Steadman performing as himself, and additional voice acting that includes Dr John and Annie Ross.
The music by Bill Frisell is quite strong, and perfect for the text (and not what one would expect). The entire atmosphere adds up to something very memorable – both surprising and a little haunting. I loved it.”
You can read the entire article, including details of the albums release here.
Ok for now,