A Fool lies here who tried to hustle the East: Neo-Colonialism and Self-Fashioning in Hunter S. Thompson’s The Curse of Lono

Hdl Handle:
http://hdl.handle.net/10034/603518
Title:
A Fool lies here who tried to hustle the East: Neo-Colonialism and Self-Fashioning in Hunter S. Thompson’s The Curse of Lono
Authors:
Stephenson, William
Abstract:
This essay departs from the critical consensus on The Curse of Lono (1983) to argue that it forms an important part of Hunter S. Thompson’s oeuvre and shows significant developments from his celebrated 1970s work. The novel functions politically as a critique of late twentieth-century US neo-colonialism and thus anticipates the current globalization debate, at the same time as wrestling with the connected problem of its author’s acknowledged status as a celebrity or branded American product. The Curse of Lono’s complex structure of interwoven extracts from Thompson’s research sources, as well as Ralph Steadman’s drawings, reduces the importance of the central subjective voice that Thompson had employed since his 1970s books, enabling the novel to comment ironically on the notorious Gonzo persona in which, thanks to the very success of his earlier work, Thompson had become trapped, and on which he still depended commercially (I refer here to Michel Foucault’s concept of the author-function). The Curse of Lono mocks its Gonzo protagonist as both a tourist and a buffoon: it comments on the subjectivism of Gonzo ironically, pushing celebrity to its ludicrous limit by making the protagonist divine. At the same time, the novel demonstrates how authorship can emerge from the historical forces that fashion culture, such as globalization In order to unpack the satirical content of The Curse of Lono in the detail it deserves, this essay adopts a position broadly aligned with the Marxist stance on globalization that sees it as a term masking Western imperialism and the needs of finance capital: I refer here to the work of David Held, Anthony McGrew, Peter Cox, James Annesley and others.
Affiliation:
University of Chester
Citation:
Stephenson, W. (2011). A Fool lies here who tried to hustle the East: Neo-Colonialism and Self-Fashioning in Hunter S. Thompson’s The Curse of Lono. Critique: Studies in Contemporary Fiction, 52(2), 217-232. DOI: 10.1080/00111610903380147
Publisher:
Taylor & Francis
Journal:
Critique: Studies in Contemporary Fiction
Publication Date:
10-Mar-2011
URI:
http://hdl.handle.net/10034/603518
DOI:
10.1080/00111610903380147
Additional Links:
http://www.tandfonline.com/doi/abs/10.1080/00111610903380147
Type:
Article
Language:
en
Description:
This is an Accepted Manuscript of an article published by Taylor & Francis in Critique: Studies in Contemporary Fiction on 10/3/2011, available online: DOI: 10.1080/00111610903380147
ISSN:
0011-1619
EISSN:
1939-9138
Appears in Collections:
English

Full metadata record

DC FieldValue Language
dc.contributor.authorStephenson, Williamen
dc.date.accessioned2016-03-23T11:04:14Zen
dc.date.available2016-03-23T11:04:14Zen
dc.date.issued2011-03-10en
dc.identifier.citationStephenson, W. (2011). A Fool lies here who tried to hustle the East: Neo-Colonialism and Self-Fashioning in Hunter S. Thompson’s The Curse of Lono. Critique: Studies in Contemporary Fiction, 52(2), 217-232. DOI: 10.1080/00111610903380147en
dc.identifier.issn0011-1619en
dc.identifier.doi10.1080/00111610903380147en
dc.identifier.urihttp://hdl.handle.net/10034/603518en
dc.descriptionThis is an Accepted Manuscript of an article published by Taylor & Francis in Critique: Studies in Contemporary Fiction on 10/3/2011, available online: DOI: 10.1080/00111610903380147en
dc.description.abstractThis essay departs from the critical consensus on The Curse of Lono (1983) to argue that it forms an important part of Hunter S. Thompson’s oeuvre and shows significant developments from his celebrated 1970s work. The novel functions politically as a critique of late twentieth-century US neo-colonialism and thus anticipates the current globalization debate, at the same time as wrestling with the connected problem of its author’s acknowledged status as a celebrity or branded American product. The Curse of Lono’s complex structure of interwoven extracts from Thompson’s research sources, as well as Ralph Steadman’s drawings, reduces the importance of the central subjective voice that Thompson had employed since his 1970s books, enabling the novel to comment ironically on the notorious Gonzo persona in which, thanks to the very success of his earlier work, Thompson had become trapped, and on which he still depended commercially (I refer here to Michel Foucault’s concept of the author-function). The Curse of Lono mocks its Gonzo protagonist as both a tourist and a buffoon: it comments on the subjectivism of Gonzo ironically, pushing celebrity to its ludicrous limit by making the protagonist divine. At the same time, the novel demonstrates how authorship can emerge from the historical forces that fashion culture, such as globalization In order to unpack the satirical content of The Curse of Lono in the detail it deserves, this essay adopts a position broadly aligned with the Marxist stance on globalization that sees it as a term masking Western imperialism and the needs of finance capital: I refer here to the work of David Held, Anthony McGrew, Peter Cox, James Annesley and others.en
dc.language.isoenen
dc.publisherTaylor & Francisen
dc.relation.urlhttp://www.tandfonline.com/doi/abs/10.1080/00111610903380147en
dc.subjectHunter S Thompsonen
dc.subjectPostcolonialismen
dc.titleA Fool lies here who tried to hustle the East: Neo-Colonialism and Self-Fashioning in Hunter S. Thompson’s The Curse of Lonoen
dc.typeArticleen
dc.identifier.eissn1939-9138en
dc.contributor.departmentUniversity of Chesteren
dc.identifier.journalCritique: Studies in Contemporary Fictionen
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