The Farm Report

(This was written at the request of Martin Flynn, proprietor of the site Hunter S. Thompson Books http://hstbooks.org. Martin asked me to write about where Hunter S. Thompson stopped and Raoul Duke began. Please check Martin’s site for other musings on the topic.)

I was a reporter and anyone who’s worked in that lonely trade knows the frustration. You know a story. You know what needs to be said. You just can’t find anyone to say it.

You can’t make up a quote. Given the rules of journalism, you can’t do that shit. So you struggle and sometimes your story falls short.

However, in Gonzo journalism the rules – such as they are – are quite different.

Raoul Duke began appearing in Hunter S. Thompson’s writing back in the days when he was the sports editor of the Command Courier, the official newspaper of Eglin Air Force Base in Florida. It was the late fifties and when Hunter couldn’t find a bystander or a source or an expert to say what he wanted, he quoted “Raoul Duke.”

Hunter, of course, was Raoul Duke.

Looking back on Hunter’s stories, you see quotes from people Duke and Bloor and Squane, and they are all Hunter Thompson. He invented these people to say the things that needed to be said. It turned parts of his journalism into fiction, but he was fond of reminding his readers that there was often greater truth to be found in fiction.

Raoul Duke has a special place in this pantheon on phantoms. It was the name Hunter plucked from his past to use as his nom de plume when he wrote “Fear and Loathing in Las Vegas” for Rolling Stone. The work was serialized as the work of Duke in two issues in November 1971. Hard to believe that that magnificent bit of prose is nearly forty years old.

As a young reader, I was confused. Who was this Duke guy and why did he have his messages sent – as reported midway through one of the episodes – care of someone named Hunter S. Thompson?

The confusion continued with regard to Duke and Hunter. Where did one stop and the other begin?

All these years later, we know much more about Hunter and Duke and Las Vegas. Hunter was compulsive about documenting his life, in photographs and on tape. Now that selections from his personal tape recordings have been made available to the public – in a handsome boxed set edition called The Gonzo Tapes – it’s possible to hear his dictated observations and comments as he lives the experience that became “Fear and Loathing in Las Vegas.”

He certainly doesn’t sound like a foaming-at-the-mouth madman running amuck in Las Vegas. If anything, he is the opposite – lucid, inquisitive, thoughtful, observant.
But in the writing, he took himself and amped up the madness lurking in his brain. And that’s when Duke emerged.

What happened in Vegas didn’t stay in Vegas. But Hunter took those events – and his personality – and heightened the reality. He once told me, “I warped a few things. It was an incredible feat of balance more than literature.” When published in book form, Fear and Loathing in Las Vegas was credited to “Hunter S. Thompson,” not Raoul Duke.

Problem was, readers thought the exaggerated caricature called Raoul Duke was Hunter S. Thompson. Though they shared the same DNA, they were not identical twins.

The Duke caricature followed him the rest of his life. It was a role that the real man could easily adopt and play, pleasing his fans. On signal, he could perform as Duke. But he was not the same without an audience.

And so he was caught in the duality. He had created the Duke character, one of the great literary inventions of his time. It was a brilliant achievement. And it was also a burden. It might have been a trap. If he cast off the Duke persona, would his readers follow him? Or would it be like slitting the throat of the golden goose?

It was a problem he wrestled with, apparently without resolution, until the end of his life.