Download Gonzo republic : Hunter S. Thompson's America by William Stephenson PDF

By William Stephenson

Gonzo Republic seems to be at Hunter S. Thompson's advanced dating
with the USA. Thompson used to be a patriot but additionally a obdurate individualist.
Stephenson examines the complete variety of Thompson's paintings, from his early
reporting from the South American customer states of the united states within the 1960s
to his twenty-first-century net columns on game, politics and 9/11.
Stephenson argues that Thompson inhabited, yet used to be to a couple extent
reacting opposed to, the culture of yankee individualism all started through the Founding Fathers and persisted by way of Emerson and Thoreau. Thompson sought out the edge―the threshold of chaos and insanity―in order to outline himself. His characters enact an identical quest, traveling during the surreal panorama of his literary the USA: the Gonzo Republic.

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Gonzo republic : Hunter S. Thompson's America

Gonzo Republic seems at Hunter S. Thompson's advanced courting with the US. Thompson was once a patriot but additionally a obdurate individualist. Stephenson examines the entire variety of Thompson's paintings, from his earlyreporting from the South American patron states of the us within the 1960sto his twenty-first-century web columns on game, politics and Sept. 11.

Additional info for Gonzo republic : Hunter S. Thompson's America

Sample text

As Thompson would a century later, the young Twain found that his ambitions ‘lay in a still-unmapped area bounded by journalism, humour, entertainment, and popular 14 Thompson believed that in his best Gonzo writing he had surpassed his mentor. He once claimed that Vegas was as good as The Great Gatsby, and better than Hemingway’s The Sun Also Rises (McKeen, 1991, p. 109). Stepping into History: Values, Contexts, Influences 39 literature’ (Kaplan, 1970, p. 29). Also like Thompson, he found that many readers confused persona and author.

Thompson is trying to come to terms with his own insignificance. He and Bloor have become pathetic parodies of outlaws. Like Duke and 9 Christopher Lamb has claimed that although Uncle Duke was ‘a thinly disguised replica’ of Thompson, ‘Other characters [in Trudeau] grew from metaphors’, meaning they stood for social tendencies such as the women’s movement (Lamb, 1990, p. 118). Trudeau’s Duke, though, was both types of character, in that he imitated Thompson and yet also stood for the Gonzo tendency that Thompson’s work initiated.

The Gonzo style was the cracked mirror of a broken nation: ‘The jagged realism of the writing struck a nerve that was directly connected to the increasing fragmentation of American culture’ (Whitmer and Van Wyngarden, 2007, 83). Gonzo offered Thompson’s idiosyncratic development of the high modernist project of representing a fragmented reality in fragmented form, seen most acutely in T. S. Eliot’s The Waste Land (1922), with its sombrely reflexive conclusion, ‘These fragments I have shored against my ruins’ (Eliot, 1974, p.

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