"I wouldn't recommend sex, drugs or insanity for everyone, but they've always worked for me."
-Hunter S. Thompson
Interview Summary:
Interview Summary:
The Paris Review’s interview with Hunter S. Thompson begins by establishing Thompson’s roots in journalism. He discusses how he got his start, and cites key people such as editors and fellow writers, that helped him get to where he is. Thompson talks about his style of “Gonzo journalism”, discussing its origins and how it manifests itself in his work. Thompson describes a few works in particular, noting how they came to be, and what people were involved in their creation. Thompson then talks about his peers in the writing world, focusing on the journalists and writers that influenced him as a person and journalist. The interviewer then asks a series of questions about Hunter’s writing process, focusing on idiosyncrasies that are associated with Thompson’s writing. The interviewer closes out the talk by discussing what Thompson would be doing if he wasn’t writing.
Hunter S. Thompson was a journalist famous for his works “The Rum Diary” and “Fear and Loathing in Las Vegas”. Thompson is thought to have invented and pioneered the style of “Gonzo journalism” where the journalist involves himself in the action to the point where it basically becomes a first person narrative. Thompson’s journalism is characterized by its extensive use of satire and drug-induced stream of consciousness writing technique, particularly evident in his novel “Fear and Loathing in Las Vegas” which was primarily inspired by two drug-fueled trips Thompson took to Las Vegas. The novel describes the death of the American Dream, focusing on how Americans use drugs to escape the realities of life. The story blends fiction and autobiographical elements, making it a hallmark of Thompson’s “Gonzo” style of journalism. Much of Thompson’s work followed this format, and his journalism was inspired extensively by his own experiences, friends, and opinions.
In Hunter S. Thompson’s interview with The Paris Review, the interviewer seeks to establish the connection between these finished works, and the inspiration behind them. The interview discusses the influence that Thompson’s peers had on his writing. Hunter cites people like poet Allen Ginsberg and author Ken Kesey as fellow “outlaw writers”, writers that were invested in things outside the law, the drug culture in particular. Thompson also cites journalist Tom Wolfe as an individual that showed him it was ok to “cut loose” from conventional journalism, and that one could actually get away with being this type of “outlaw writer”. Hunter makes the distinction that years ago one could be exiled for living outside of the law, yet he and his peers were able to get away with it. This outlaw culture was the subject for much of Thompson’s work, particularly “Fear and Loathing” as well as his piece on the motorcycle gang “Hell’s Angels”.
To further this connection between Thompson’s finished products and the work that went into it, the interviewer seeks to obtain a grasp on Thompson’s writing process. Thompson discusses how he writes best when he is under a deadline and the influence of drugs, particularly alcohol. Thompson maintains that any writer who claims they can’t work under the influence of drugs or alcohol is lying. “Who the fuck do you think wrote the Book of Revelation? A bunch of stone-sober clerics?” says Thompson. Hunter’s use of drugs and alcohol furthers the notion that much of his work contains autobiographical elements. The drug use that he portrays in his writing reflects Thompson’s own drug habits, particularly the use of psychedelic drugs in “Fear and Loathing in Las Vegas”.
The interview goes more in depth investigating Hunter’s writing process. The interviewer asks about everything from Hunter’s preference of the typewriter over a computer, to the kind of music Hunter listens to while he is writing. He asks if there are any particular mnemonic devices that help Hunter when deadlines are upon him, to which he satirically responds “bestiality films”. These types of questions that go behind the scenes of Thompson’s writing serve to inform the reader of how elements of Thompson’s own life influence his writing. These types of questions also serve another purpose. With Thompson being such an esteemed, iconic figure in our culture, these questions almost “humanize” Thompson, showing the reader that even the most acclaimed journalists still have to adhere to a deadline even when they wake up with a raging hangover.
The rest of the interview covers Thompson’s rise to fame beginning with his time in the Air Force. Hunter discusses some of the works he completed throughout his career, citing how each one came into existence. Thompson appears to have a great deal of apathy for how he and his work are perceived. His novel “The Rum Diaries” was written in the early 1960s but wasn’t published until 1998 because it was rejected so many times. Thompson doesn’t seem to mind, which makes perfect sense for a man who warms up at his typewriter by sending letters out that read “Eat shit and die” and “Fuck you I wouldn’t sell that for a thousand dollars”. For a writer as influential as Thompson, he doesn’t need to care about what people think of his work.
In Hunter S. Thompson’s interview with The Paris Review, the interviewer seeks to establish the connection between these finished works, and the inspiration behind them. The interview discusses the influence that Thompson’s peers had on his writing. Hunter cites people like poet Allen Ginsberg and author Ken Kesey as fellow “outlaw writers”, writers that were invested in things outside the law, the drug culture in particular. Thompson also cites journalist Tom Wolfe as an individual that showed him it was ok to “cut loose” from conventional journalism, and that one could actually get away with being this type of “outlaw writer”. Hunter makes the distinction that years ago one could be exiled for living outside of the law, yet he and his peers were able to get away with it. This outlaw culture was the subject for much of Thompson’s work, particularly “Fear and Loathing” as well as his piece on the motorcycle gang “Hell’s Angels”.
To further this connection between Thompson’s finished products and the work that went into it, the interviewer seeks to obtain a grasp on Thompson’s writing process. Thompson discusses how he writes best when he is under a deadline and the influence of drugs, particularly alcohol. Thompson maintains that any writer who claims they can’t work under the influence of drugs or alcohol is lying. “Who the fuck do you think wrote the Book of Revelation? A bunch of stone-sober clerics?” says Thompson. Hunter’s use of drugs and alcohol furthers the notion that much of his work contains autobiographical elements. The drug use that he portrays in his writing reflects Thompson’s own drug habits, particularly the use of psychedelic drugs in “Fear and Loathing in Las Vegas”.
The interview goes more in depth investigating Hunter’s writing process. The interviewer asks about everything from Hunter’s preference of the typewriter over a computer, to the kind of music Hunter listens to while he is writing. He asks if there are any particular mnemonic devices that help Hunter when deadlines are upon him, to which he satirically responds “bestiality films”. These types of questions that go behind the scenes of Thompson’s writing serve to inform the reader of how elements of Thompson’s own life influence his writing. These types of questions also serve another purpose. With Thompson being such an esteemed, iconic figure in our culture, these questions almost “humanize” Thompson, showing the reader that even the most acclaimed journalists still have to adhere to a deadline even when they wake up with a raging hangover.
The rest of the interview covers Thompson’s rise to fame beginning with his time in the Air Force. Hunter discusses some of the works he completed throughout his career, citing how each one came into existence. Thompson appears to have a great deal of apathy for how he and his work are perceived. His novel “The Rum Diaries” was written in the early 1960s but wasn’t published until 1998 because it was rejected so many times. Thompson doesn’t seem to mind, which makes perfect sense for a man who warms up at his typewriter by sending letters out that read “Eat shit and die” and “Fuck you I wouldn’t sell that for a thousand dollars”. For a writer as influential as Thompson, he doesn’t need to care about what people think of his work.
Hunter S. Thompson committed suicide in his home on February 20th, 2005. At his funeral, his ashes we fired from a cannon on top of a 153-foot tower shaped like a fist holding a peyote button. Even Thompson’s funeral was no exception to his whimsical, satire filled personality. Thompson remains one of the greatest journalists in history, and he has achieved somewhat of a cult following across the world. The inventor of “Gonzo journalism”, Thompson leaves behind a legacy of great writing and wisdom.
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