Fear and Loathing in Las Vegas and Other American Stories

By Hunter S. Thompson

Book Overview

The 50th-anniversary edition of the classic, savagely comic account of a trip to Las Vegas that came to represent what happened to America in the 1960s--and a founding document of "gonzo journalism"--featuring the original artwork by Ralph Steadman and a new introduction by Caity Weaver

First published in Rolling Stone magazine in 1971, Fear and Loathing in Las Vegas is told through Hunter S. Thompson's story of an assignment he undertook with his attorney to visit Las Vegas and "check it out." The book stands as the final word on the highs and lows of that decade, one of the defining works of our time, and a stylistic and journalistic tour de force. As Christopher Lehmann-Haupt wrote in The New York Times, it has "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."

This 50th-anniversary Modern Library edition features Ralph Steadman's original drawings, a new introduction by New York Times writer Caity Weaver, and three companion pieces selected by Thompson: "Jacket Copy for Fear and Loathing in Las Vegas," "Strange Rumblings in Aztlan," and "The Kentucky Derby Is Decadent and Depraved."

• Format: Hardcover
• Language: English
• ISBN: B001W9G8H2
• ISBN13: 9780679602989
• Release Date: May 1998
• Publisher: Modern Library
• Length: 320 Pages
• Weight: 0.90 lbs.
• Dimensions: 1.2" x 5.6" x 8.0"

Customer Reviews

Fear and Loathing in Las Vegas

"Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream" by Hunter S. Thompson Hunter Thompson practiced total immersion journalism. This form of reporting is called gonzo journalism. Hunter Thompson drove to Las Vegas to report on a motorcycle race and ended up writing a story about himself writing a story about a motorcycle race. If he would have written a conventional report on motorcycle racing it would have been interesting to motorcycle enthusiasts for a few days. Since he wrote a gonzo story he had a very wide canvas and he used it well to create a classic. The reader might be turned off by the obstreperous behavior, extreme self indulgence and offensive inconsiderate language. If you can look past this offensive conduct and you will see that Hunter Thompson gave us an insight into the American character of the 1970's. See also: Hell's Angels: A Strange and Terrible Saga (Modern Library) I completely enjoyed this book and recommend it to others.

The man, the legacy, the insanity

Anyone who has not read Hunter S. Thompson, owes it to him or herself to read at least one of his efforts. This is the perfect starting point. Often described, alternately, as a drug crazed lunatic, a brilliant writer, a humorist, a political commentator, and a popular historian; none of those titles really does justice to him as a person or his body of work. Hunter was a visionary, while associated with the counterculture of the 1960's and 70's, he is more closely related to the beat movement of the 1950's. His desire was to capture life in action, with a blend of prose and newscopy. To try to explain Fear and Loathing is impossible, its simply not about a trip to Las Vegas. Its about the American Dream, something Hunter stringly believed in, and his attempt to experience it hanging on by his fungernails. As he would say, buy the ticket... take the ride.

A classic made even better!

Literary gem "Fear and Loathing in Las Vegas" repackaged with a movie cover to go with the Terry Gilliam film. This book includes the original itself, with Ralph Steadman's accompanying gonzo art, and adds a few happy surprises. Jacket copy for the book by Thompson is included, alongside "Strange Rumblings in Aztlan" and the hysterical tale of Thompson and Steadman's first dizzying encounter, "The Kentucky Derby Is Decadent and Depraved". These stories are laugh-out-loud funny, and this slim volume is a great addition to any collection.

Origin of "Gonzo" matched with its seeds

When someone mentions Hunter S. Thompson, the almost immediate reponse is "Oh, yeh - the Fear and Loathing guy." To review that piece in 1998 is perhaps too little too late, but a glance at this volume, which matches the original with "Jacket Copy" and "The Kentucky Derby is Decadent and Depraved," is in order because of its complete vision of Thompson's style and purpose. What "Fear and Loathing" delivers is what was promised by "Kentucky Derby," and what it fails to tell you is what is filled-in by "Jacket Copy." For those interested in reading "Fear and Loathing," today, this package will give perspective on the times and reinforce the power of the original work.