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The sentences are longer, with more eloquence shown here than in his reporting on the Mint 400.Īs stated in the introduction paragraph, it is important that one takes into account the mood of the sentences in the two example excerpts in order to fully appreciate Thompson’s switch in style. Here is the more relaxed Thompson, taking time to recall a feeling and even show a bit of nostalgia for a time already passed. 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 sort of eyes you can almost see the high-water mark-that place where the wave finally broke and rolled back.”(68) We had all the momentum we were riding the crest of a high and beautiful wave. There was no point in fighting-on our side or theirs. Not in and mean or military sense we didn't need that. “And that, I think, was the handle-that sense of inevitable victory over the forces of Old and Evil.
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He states that he and all other members of the acid subculture in San Francisco in that period of time had a “fantastic sense that whatever we were doing was right, that we were winning.” (68) He then continues: Later in the book, Thompson stops to reflect on the great San Francisco Acid Wave in the mid- sixties.
#FEAR AND LOATHING IN LAS VEGAS CAST SERIES#
A series of facts followed by rhetorical questions that are not intended to go any farther than that.
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This is the sort of journalistic pace that readers of Thompson become accustomed to. But what now? Rent a helicopter? Get back in that stinking Bronco? Wander out on that goddamn desert and watch these fools race past the checkpoints? One every thirteen minutes.?”(38) I had witnessed the start I was sure of that much. “It was time, I felt, for an Agonizing Reappraisal of the whole scene. Upon reaching the race itself, Thompson/Duke realizes that there is no possible way that the race can be covered in any conventional journalistic sense due to the unorthodox nature of the race and the amount of dust kicked up because of it. Gonzo as they travel to Las Vegas to cover the Mint 400, a desert automotive race. These excerpts were selected as each is thought to be a good example of one of Thompson’s distinct writing styles: Journalistic and Reflective.įear and Loathing in Las Vegas follows Thompson’s alter-ego Raoul Duke and his psychopath companion Dr. The purpose of this article is go beneath what Thompson is writing about and to examine how he writes it most notably his varying use of mood between two excerpts from Fear and Loathing in Las Vegas. While many readers recognize this when reading Thompson’s works-most notably his rambling 1971 opus Fear and Loathing in Las Vegas-when asked about it these readers may have a hard time pinning down what makes Thompson’s writing so unique, or what difference there is between the journalistic and reflective sides of Thompson’s writing. The reader hears an eloquence in his literary voice as his thoughts begin to ride across the paper.
#FEAR AND LOATHING IN LAS VEGAS CAST FULL#
In full “reflection mode” Thompson ceases his pace, and the rapid-fire hail of information and occurrences slacks off a little. It is during these reflective moments, however, when the reader recognizes a different side to Thompson’s writing. This sort of writing and lack of editing acts to create a frenetic pace of information and narrative, and it is rare when Thompson allows himself to slow down and reflect on what is happening, or even on anything he happens to be thinking of at the moment. Thompson often purposely keeps manuscripts, only submitting them when it is absolutely necessary and much too late for any sort editing. This style-known as Gonzo journalism-is known for its spontaneity. He writes as it happens, telling his audience exactly what he sees and what he thinks of it at that time.