Hunter S. Thompson is one of those literary figures who, like the Beat Generation writers, divides opinion. His controversial books inspired legions of fans, and more than a few critics. As with the Beats, Thompson is often viewed as an outsider and a rebel; his contributions to the literary canon seen merely as a quirky commentary on a weird stage in American culture. Even among those who admire his work, there is no real consensus on what exactly made him great. Continue Reading…
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John Tytell: They are making a movie of The Great Gatsby.
William S. Burroughs: I’m sure it will be a real mess.
JT: But not at the box office.
WSB: I’m not even sure of that. Generally speaking they know what they’re doing, but they don’t always. They will go all out on these spectaculars that don’t work at all. I was just looking the book over myself with an idea of making a film, and there just is no film there — everything’s in the prose. You take that away and you’ve got wooden dialogue and creaky action… It isn’t cinematic.
William S. Burroughs talking about filming The Great Gatsby in 1974.
by David S. Wills
Hunter never really liked Jack Kerouac’s On the Road — he thought the writing was kind of sloppy and romantic and oversentimental but he told me he thought Kerouac was a genius for two things: discovering Neal Cassady, whom Hunter thought was flat-out amazing, and using the literary construct of “looking for the lost dad I never had.” Neal was never properly raised by a father. He didn’t even know whether his dad was alive or dead, and the notion of a young son who never had a dad, looking for his biological father, appealed to Hunter a great deal. – Doug Brinkley in Jann Wenner’s Gonzo.
There are a great many similarities between the two legendary outlaw writers. For a start, both approached writing with firm literary influences, yet managed to create entirely unique styles of their own, almost unrecognisable from those authors they first wished to emulate. Hunter typed out whole novels by Hemingway and Fitzgerald, and ended up tearing pages from his notebooks and submitting them as professional journalism to internationally renowned publications. Jack was driven by the desire to be a proper novelist with proper respect and to be the darling of the literary world, yet wrote the novel that sent millions on the road, inspired drink and drug culture for decades to come, and died with the respect only of those whose respect he didn’t want.
They both wrote wild tales of excess and burned out American Dreams, celebrating that which the establishment would condemn as the dark side of life, and not giving a fuck. Well, not quite. Hunter often said he felt forced to live up to the image of himself that he’d created in his books, which blended reality and fiction so chaotically that it’s hard to tell what happened and what didn’t. Nonetheless, most of his fans tended to be young and reckless and seeing nothing more in their idol than a crazed dope fiend. Jack, too, was plagued by the brutal life wrought by celebrity. He had written most of his novels by the time he had published On the Road, and simply sat and slipped slowly towards death as he tried drunkenly to cope with the torment of unwanted attention. His books were largely condemned by the critics until after his death from alcoholism at the age of forty-seven.
In style, we can see sharp differences between them. Jack was of the Beat philosophy that avoided political solutions, and instead focussed on carving out one’s own little space in the world. Consequently, Jack celebrated in grand romantic sentiment the things in life he thought were worth living for. Hunter, on the other hand, was an angry and energetic force of nature, who tried to fight anything he didn’t like. If he saw a system of power, he’d destroy it. His writing was characterised by vitriol, taking whatever it was that he loathed and saying everything he could think of to persuade the reader of his point of view. In the end, both writers embraced a spirit and a feeling and stated it better than any of their contemporaries, but lacked any hard truth or adherence to a traditional literary style.
Hunter thought of his Fear and Loathing in Las Vegas as essentially a road novel, comparing it to On the Road. He felt that his book was like Kerouac’s in politics: In the pessimistic certainty of the death of the American Dream. Both books has protagonists against the prevailing ideology of their times, immersed in destructive lifestyles and ruing an oppressive world.