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<h1 class="p-name entry-title post--title" itemprop="headline">Farewell Mr. Hunter S Thompson</h1>
<time class="dt-published published dt-updated post--date" datetime="2005-02-24T18:11:10" itemprop="datePublished">February <span>24, 2005</span></time>
<p class="p-author author hide" itemprop="author"><span class="byline-author" itemscope itemtype="http://schema.org/Person"><span itemprop="name">Scott Gilbertson</span></span></p>
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<p><span class="drop">I</span>'m sure everyone has heard by now that Hunter S. Thompson committed suicide this past weekend. Like many I am saddened by Thompson's decision to take his own life. I don't for a moment pretend to understand why he did it, but after thinking about it for a few days I have decided that, despite the loss for the rest of us, this was precisely the way Thompson should depart— shocking, violent and utterly gonzo.</p>
<p><break></break></p>
<p>Unfortunately, Thompson is probably best known for the unapologetic drug use of <strong>Fear and Loathing in Las Vegas</strong>. But to understand the impact of that book we consider its moment in time. Originally published as an ongoing series in the November 1971 issues of Rolling Stone<sup id="fnr-1-10-20-04"><a href="#fn-1-10-20-04">1</a></sup>, <strong>Fear and Loathing in Las Vegas</strong> sought to shock a deeply jaded populace. America was deep in the throws of an ideological civil war—Civil Rights, Vietnam, Hippies, et al. The counter-culture was trying to gain ground by going legit. Kerouac was dead, Ginsberg had failed to bring down the Pentagon with flowers, the optimism of the '60s was crashing and burning. </p>
<p>Into this melee stepped Hunter S Thompson with a eulogy for the dreams of the 1960's, one that mourned, but also tried to lay the empty idealism to rest. The drug use in the novel, to me anyway, is simply a so-deranged-its-sane reaction to a world that must certainly have seemed deranged. As they say, if everyone is insane, only the sane appear insane. </p>
<p>Also missing in most writing about the book (on the web anyway) is the novel's subtitle, which is really a more accurate description of the book: A savage journey to the heart of the America Dream<sup id="fnr-2-10-20-04"><a href="#fn-2-10-20-04">2</a></sup>. From <strong>Fear and Loathing</strong>:</p><blockquote>And that, I think, was the handle—that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn't need that. Our energy would simply prevail. There was no point in fighting—on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave....</blockquote><blockquote>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.</blockquote>
<p>What saddens me most of all about Thompson's death is that, like William Burroughs (and probably DeQuincy in his day), he will probably be remember more for the <strong>way</strong> he wrote than <strong>what</strong> he wrote. Yes, perhaps he did ingest a good bit of drugs and yes, perhaps he did celebrate it (which differs from Burroughs), but Thompson was not just drugs, nor was he just a journalist. <strong>Fear and Loathing in Las Vegas</strong> is, and will remain, a scathing indictment of the corruption and failure of the 1960s version of the American Dream. It's Thompson's chronicling of the metamorphosis from dream to nightmare, not his outlandish drug intake, that makes Fear and Loathing a compelling piece of literature. </p>
<p>Just as he stripped the glamor from drugs, he stripped the rhetoric and bullshit from politics. His self-described "gonzo" style of reporting is often characterized as the interjection of the reporter into the story. But Thompson knew as well of the rest of us that every writer interjects herself into the story. If anything, his "gonzo" style of journalism is less an injection of Hunter S. Thompson into the story that is was a removal of the mythical characteristic of his subjects. He stripped us all to our barest and yes sometimes basest parts. If the story still required myth then the fictionalized Thompson was there to step up, but never is there a moment in Thompson's political writings where politicians or leaders are any more than fellow fucked up passengers on voyage so grand that overshadows us all. A voyage on in which, as <a href="http://neutralmilkhotel.net/" title="Neutral Milk Hotel">Jeff Magnum</a> has said, "how strange it is to be anything at all."</p>
<p>And now Thompson has propelled himself beyond that voyage into yet another and so it is with sadness, but also with respect and admiration that I bid you fairwell Mr. Thompson and naively hope that the work you leave behind can grow to eclipse the shadow you cast in writing it.</p><p class="pic"><amp-img alt="Hunter S Thompson" height="230" src="https://images.luxagraf.net//2005/thompson.jpg" width="360"></amp-img></p>
<ol class="footnote"><li id="fn-1-10-20-04"><p><span class="note1">1. Note to Rolling Stone, anytime you want to start publishing good fiction again, feel free...</span><a class="footnoteBackLink" href="#fnr-1-10-20-04" title="Jump back to footnote 1 in the text.">↩</a></p></li><li id="fn-2-10-20-04"><p class="note2">2. Interestingly enough the latest edition of *Fear and Loathing in Las Vegas* omits this subtitle in favor of "And Other American Stories," which is unfortunate.<a class="footnoteBackLink" href="#fnr-2-10-20-04" title="Jump back to footnote 2 in the text.">↩</a></p></li></ol>
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