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Adobe
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This article is about the building material. For the software company, see Adobe Systems.
Not to be confused with abode or adobo.
Adobe wall (detail) in Bahillo, Palencia, Spain.
Renewal of the surface coating of an adobe wall in Chamisal, New Mexico
Shiraz, Iran. Its urban gardens are separated by adobe walls.
Adobe (US: /əˈdoʊbi/ ( listen), UK: /əˈdoʊb/;[1] Spanish: [aˈðoβe]) is a building material made from earth and other organic materials. Adobe means mudbrick in Spanish, but in some English speaking regions of Spanish heritage it refers to any kind of earth construction, as most adobe buildings are similar in appearance to cob and rammed earth buildings. Adobe is among the earliest building materials, and is used throughout the world.
Contents
[hide]
1 Description
2 Strength
3 Distribution
4 Etymology
5 Composition
6 Material properties
7 Uses
7.1 Poured and puddled adobe walls
7.2 Adobe bricks
7.3 Adobe wall construction
7.4 Adobe roof
8 Adobe around the world
9 See also
10 References
11 External links
Description[edit]
Adobe bricks are most often made into units weighing less than 100 pounds and small enough that they can quickly air dry individually without cracking and be subsequently assembled, with the application of adobe mud, to bond the individual bricks into a structure. Modern methods of construction allow the pouring of whole adobe walls that are reinforced with steel.
Strength[edit]
In dry climates, adobe structures are extremely durable, and account for some of the oldest existing buildings in the world. Adobe buildings offer significant advantages due to their greater thermal mass, but they are known to be particularly susceptible to earthquake damage if they are not somehow reinforced.[2][3] Cases where adobe structures were widely damaged during earthquakes include the 1976 Guatemala earthquake, the 2003 Bam earthquake and the 2010 Chile earthquake.
Distribution[edit]
Buildings made of sun-dried earth are common throughout the world (Middle East, Western Asia, North Africa, West Africa, South America, southwestern North America, Spain, and Eastern Europe.)[4][5] Adobe had been in use by indigenous peoples of the Americas in the Southwestern United States, Mesoamerica, and the Andes for several thousand years.[6] Puebloan peoples built their adobe structures with handfuls or basketfuls of adobe, until the Spanish introduced them to making bricks. Adobe bricks were used in Spain from the Late Bronze and Iron Ages (eighth century BCE onwards).[7] Its wide use can be attributed to its simplicity of design and manufacture, and economics.[8]
A distinction is sometimes made between the smaller adobes, which are about the size of ordinary baked bricks, and the larger adobines, some of which may be one to two yards (1–2 m) long.
Etymology[edit]
Church at San Pedro de Atacama, Chile
The word adobe /əˈdoʊbiː/ has existed for around 4000 years with relatively little change in either pronunciation or meaning. The word can be traced from the Middle Egyptian (c. 2000 BC) word ɟbt "mudbrick." Middle Egyptian evolved into Late Egyptian, Demotic or "pre-Coptic", and finally to Coptic (c. 600 BC), where it appeared as τωωβε tōʾpə. This was borrowed into Arabic as الطوب aṭ-ṭawbu or aṭ-ṭūbu, with the definite article al- attached,[9] tuba,[10][11] which was assimilated into the Old Spanish language as adobe [aˈdobe], probably via Mozarabic. English borrowed the word from Spanish in the early 18th century.
Adobe style in Santa Fe, New Mexico
In more modern English usage, the term "adobe" has come to include a style of architecture popular in the desert climates of North America, especially in New Mexico.
Composition[edit]
An adobe brick is a composite material made of earth mixed with water and an organic material such as straw or dung. The soil composition typically contains sand, silt and clay. Straw is useful in binding the brick together and allowing the brick to dry evenly, thereby preventing cracking due to uneven shrinkage rates through the brick.[12] Dung offers the same advantage. The most desirable soil texture for producing the mud of adobe is 15% clay, 10–30% silt and 55–75% fine sand.[13] Another source quotes 15–25% clay and the remainder sand and coarser particles up to cobbles 50 to 250 mm (2 to 10 in) with no deleterious effect. Modern adobe is stabilized with either emulsified asphalt or Portland cement up to 10% by weight.
No more than half the clay content should be expansive clays with the remainder non-expansive illite or kaolinite. Too much expansive clay results in uneven drying through the brick resulting in cracking, while too much kaolinite will make a weak brick. Typically the soils of the Southwest United States, where such construction is in use, are an adequate composition.[14]
Material properties[edit]
The Great Mosque of Djenné, Mali is built in adobe. The struts projecting from the wall serve as decoration, as well as supports for scaffolding during maintenance
Adobe walls are load bearing, i.e. they carry their own weight into the foundation rather than by another structure, hence the adobe must have sufficient compressive strength. In the United States, most building codes[15] call for a minimum compressive strength of 300 lbf/in2 (2.07 newton/mm2) for the adobe block. Adobe construction should be designed so as to avoid lateral structural loads that would cause bending loads. The building codes require the building sustain a 1 g lateral acceleration earthquake load. Such an acceleration will cause lateral loads on the walls, resulting in shear and bending and inducing tensile stresses. To withstand such loads, the codes typically call for a tensile modulus of rupture strength of at least 50 lbf/in2 (0.345 newton/mm2) for the finished block.
In addition to being an inexpensive material with a small resource cost, adobe can serve as a significant heat reservoir due to the thermal properties inherent in the massive walls typical in adobe construction. In climates typified by hot days and cool nights, the high thermal mass of adobe mediates the high and low temperatures of the day, moderating the living space temperature. The massive walls require a large and relatively long input of heat from the sun (radiation) and from the surrounding air (convection) before they warm through to the interior. After the sun sets and the temperature drops, the warm wall will then continue to transfer heat to the interior for several hours due to the time-lag effect. Thus, a well-planned adobe wall of the appropriate thickness is very effective at controlling inside temperature through the wide daily fluctuations typical of desert climates, a factor which has contributed to its longevity as a building material.
Thermodynamic material properties are sparsely quoted. The thermal resistance of adobe is quoted as having an R-value of R0 = 0.41 h ft2 °F/(Btu in)[16] and a conductivity of 0.57 W/(m K) quoted from another source.[17] A third source provides the following properties: conductivity=0.30 Btu/(h ft °F); heat capacity=0.24 Btu/(lb °F); density=106 lb/ft3 (1700 kg/m3).[18] To determine the total R-value of a wall for example, multiply R0 by the thickness of the wall. From knowledge of the adobe density, heat capacity and a diffusivity value, the conductivity is found to be k = 0.20 Btu/(h ft °F) or 0.35 W/(m K). The heat capacity is commonly quoted as cp = 0.20 Btu/(lb F) or 840 joules/(kg K).[19] The density is 95 lb/ft3 or 1520 kg/m3. The thermal diffusivity is calculated to be 0.0105 ft2/h or 2.72x10−7 m2/s.
Uses[edit]
Poured and puddled adobe walls[edit]
Cliff dwellings of poured or puddled adobe (cob) at Cuarenta Casas in Mexico.
Poured and puddled adobe (puddled clay, piled earth) today called cob, is made by placing soft adobe in layers, rather than making by individual dried bricks or using a form. Puddle is a general term for a clay or clay and sand based material worked into a dense, plastic state.[20] These are the oldest methods of building with adobe in the Americas until holes in the ground were used as forms and then later wooden forms used to make individual bricks were introduced by the Spanish.[21]
Adobe bricks[edit]
Adobe bricks near a construction site in Milyanfan, Kyrgyzstan
Bricks made from adobe are usually made by pressing the mud mixture into an open timber frame. In North America, the brick is typically about 25 by 36 cm (10 by 14 in) in size. The mixture is molded into the frame, which is then is removed after initial setting. After drying for a few hours, the bricks are turned on edge to finish drying. Slow drying in shade reduces cracking.
The same mixture, without straw, is used to make mortar and often plaster on interior and exterior walls. Some ancient cultures used lime-based cement for the plaster to protect against rain damage.[citation needed]
Depending on the form into which the mixture is pressed, adobe can encompass nearly any shape or size, provided drying is even and the mixture includes reinforcement for larger bricks. Reinforcement can include manure, straw, cement, rebar or wooden posts. Experience has shown straw, cement, or manure added to a standard adobe mixture can all produce a stronger, more crack-resistant brick.[22] A test is done on the soil content first. To do so, a sample of the soil is mixed into a clear container with some water, creating an almost completely saturated liquid. The container is shaken vigorously for one minute. It is then allowed to settle for a day until the soil has settled into layers. Heavier particles settle out first, sand above, silt above that and very fine clay and organic matter will stay in suspension for days. After the water has cleared, percentages of the various particles can be determined. Fifty to 60 percent sand and 35 to 40 percent clay will yield strong bricks. The Cooperative State Research, Education, and Extension Service at New Mexico State University recommends a mix of not more than 1/3 clay, not less than 1/2 sand, and never more than 1/3 silt.
Adobe wall construction[edit]
The earthen plaster removed exposing the adobe bricks at Fort St. Sebastian in France
The ground supporting an adobe structure should be compressed, as the weight of adobe wall is significant and foundation settling may cause cracking of the wall. Footing depth is to below the ground frost level. The footing and stem wall are commonly 24 and 14 inches thick, respectively. Modern construction codes call for the use of reinforcing steel in the footing and stem wall. Adobe bricks are laid by course. Adobe walls usually never rise above two stories as they are load bearing and adobe has low structural strength. When creating window and door openings, a lintel is placed on top of the opening to support the bricks above. Atop the last courses of brick, bond beams made of heavy wood beams or modern reinforced concrete are laid to provide a horizontal bearing plate for the roof beams and to redistribute lateral earthquake loads to shear walls more able to carry the forces. To protect the interior and exterior adobe walls, finishes such as mud plaster, whitewash or stucco can be applied. These protect the adobe wall from water damage, but need to be reapplied periodically. Alternatively, the walls can be finished with other nontraditional plasters that provide longer protection. Bricks made with stabilized adobe generally do not need protection of plasters.
Adobe roof[edit]
The traditional adobe roof has been constructed using a mixture of soil/clay, water, sand and organic materials. The mixture was then formed and pressed into wood forms, producing rows of dried earth bricks that would then be laid across a support structure of wood and plastered into place with more adobe.
Depending on the materials available, a roof may be assembled using wood or metal beams to create a framework to begin layering adobe bricks. Depending on the thickness of the adobe bricks, the framework has been preformed using a steel framing and a layering of a metal fencing or wiring over the framework to allow an even load as masses of adobe are spread across the metal fencing like cob and allowed to air dry accordingly. This method was demonstrated with an adobe blend heavily impregnated with cement to allow even drying and prevent cracking.
The more traditional flat adobe roofs are functional only in dry climates that are not exposed to snow loads. The heaviest wooden beams, called vigas, lie atop the wall. Across the vigas lie smaller members called latillas[23] and upon those brush is then laid. Finally, the adobe layer is applied.
To construct a flat adobe roof, beams of wood were laid to span the building, the ends of which were attached to the tops of the walls. Once the vigas, latillas and brush are laid, adobe bricks are placed. An adobe roof is often laid with bricks slightly larger in width to ensure a greater expanse is covered when placing the bricks onto the roof. Following each individual brick should be a layer of adobe mortar, recommended to be at least 25 mm (1 in) thick to make certain there is ample strength between the brick’s edges and also to provide a relative moisture barrier during rain[24].
Depending on the materials, adobe roofs can be inherently fire-proof. The construction of a chimney can greatly influence the construction of the roof supports, creating an extra need for care in choosing the materials. The builders can make an adobe chimney by stacking simple adobe bricks in a similar fashion as the surrounding walls
Adobe around the world[edit]
The largest structure ever made from adobe is the Arg-é Bam built by the Achaemenid Empire. Other large adobe structures are the Huaca del Sol in Peru, with 100 million signed bricks and the ciudellas of Chan Chan and Tambo Colorado, both in Peru.
The citadel of Bam, Iran, or Arg-é Bam, in Kerman Province, Iran: The world's largest adobe structure, dating to at least 500 BC
Still in production today, Romania's Danube Delta
Mixing mud and straw in brick frames
Community effort
Adobe brick house under construction in Kyrgyzstan
House in Sa'dah, Yemen
Adobe brick house under construction in Romania
An adobe wall in Linxia City, Gansu, China
Poeh Museum tower, the tallest adobe structure in New Mexico, USA
San Miguel Mission in Santa Fe, New Mexico
Great Mosque of Djenné, famous building made from banco, a type of adobe
Adobe house in Middle America
See also[edit]
Alker
Cob (building)
Compressed earth block
Earth structure
Hassan Fathy
Mudbrick
Qadad (waterproofing plaster)
Qalat (fortress)
Rammed earth
San Xavier del Bac
Sod house
Super Adobe
Wattle and daub
Cas di torto
Monterey Colonial architecture used adobe walls
Ctesiphon Arch in Iraq is the largest mud brick arch in the world built beginning in 540 AD
References[edit]
Jump up ^ definition of adobe from Oxford Dictionaries Online. Retrieved 25 December 2010.
Jump up ^ Short documentary about adobe preparation and 2010 Chile earthquake Livingatlaschile.com, FICh, retrieved 5 March 2014
Jump up ^ Collyns, Dan (15 August 2009). "Peru rebuilds two years on from quake". news.bbc.co.uk. Archived from the original on 15 August 2009. Retrieved 24 August 2009. the 1976 Guatemala earthquake the 2003 Bam earthquake
Jump up ^ Marchand, Trevor. The Masons of Djenne. Bloomington: University of Indiana Press, 2009
Jump up ^ Museum of Lithuanian life Rumsiskes Lithuania (2011)
Jump up ^ Beck, Roger B.; Linda Black; Larry S. Krieger; Phillip C. Naylor; Dahia Ibo Shabaka (1999). World History: Patterns of Interaction. Evanston, IL: McDougal Littell. ISBN 978-0-395-87274-1.
Jump up ^ de Chazelles-Gazzal, Claire-Anne (1997). Les maisons en terre de la Gaule méridionale. Montagnac, France: Éditions Monique Mergoil. pp. 49–57.
Jump up ^ Rose, William I.; Julian J. Bommer (2004). Natural hazards in El Salvador. Geological Society of America. p. 299. ISBN 978-0-8137-2375-4.
Jump up ^ "adobe" Oxford English Dictionary Second Edition on CD-ROM (v. 4.0) © Oxford University Press 2009
Jump up ^ Spanish Word Histories and Mysteries: English Words that Come from Spanish Houghton Mifflin Co. 2007 p.5
Jump up ^ "Adobe Moulding" Auroville Earth Institute
Jump up ^ Vargas, J.; J. Bariola; M. Blondet (1986). "Seismic Strength of Adobe Masonry". Materials and Structures. 9 (4): 253–256. doi:10.1007/BF02472107.
Jump up ^ Garrison, James. "Adobe-The Material, Its Deterioration, Its Coatings" (PDF). pp. 5–16. Retrieved 27 February 2013.
Jump up ^ Austin, George. "Adobe as a building material" (PDF). New Mexico Geology, November 1984. New Mexico Bureau of Mines and Mineral Resources. p. 70. Archived from the original (PDF) on 2 December 2013. Retrieved 27 February 2013.
Jump up ^ "14.7.4 NMAC" (PDF). Archived from the original (PDF) on 18 August 2013. Retrieved 25 June 2013.
Jump up ^ "2009 New Mexico Energy Conservation Code: Residential Applications Manual" (PDF). Emnrd.state.nm.us. Retrieved 21 July 2013.
Jump up ^ Chávez-Galán, Jesus; Almanza, Rafael; Rodríguez, Neftali. "Experimental Measurements of Thermal Properties for Mexican Building Materials to Simulate Thermal Behavior to Save Energy". Spriner. Retrieved 25 November 2014.
Jump up ^ "HVAC Systems AE-390". Drexel University. Retrieved 25 November 2014.
Jump up ^ "Mass and insulation with adobe". Green Home Building. Retrieved 25 June 2013.
Jump up ^ "puddle, n. 4.". Oxford English Dictionary 2nd. ed. 2009. CD-rom.
Jump up ^ Keefe, Laurence. Earth Building: Methods and Materials, Repair and Conservation. London: Taylor & Francis, 2005. 22. Print.
Jump up ^ Technical Information Online. "Mud Plasters and Renders – Technical Information Online – Practical Answers" (PDF). Practicalaction.org. Retrieved 9 November 2010.
Jump up ^ "Preservation of Historic Adobe Buildings". Dawson Lupul. Retrieved 30 January 2014.
Jump up ^ "How Adobe Construction Works". Add Water, Then Stir - How Adobe Construction Works | HowStuffWorks. 2012-04-17. Retrieved 2017-10-24.
External links[edit]
Wikimedia Commons has media related to Adobe (building material).
Look up adobe in Wiktionary, the free dictionary.
Building With Awareness A detailed how-to DVD video that shows adobe wall construction and their use as thermal mass walls
Cal-Earth (The California Institute of Earth Art and Architecture) has developed a patented system called Superadobe, in which bags filled with stabilized earth are layered with strands of barbed wire to form a structure strong enough to withstand earthquakes, fire and flood.
Earth Architecture – A website whose focus is contemporary issues in earth architecture.
Earth Architecture and Conservation in East Anglia – British organisation that focuses on the proper maintenance and conservation of earth buildings in a region of the UK that has a long history of building with mud.
Kerpic.org – A website on earthen architecture researches stabilized with gypsum.
Kleiwerks – International organization recognized for their unique contribution to modern earthen and natural building techniques throughout the world, their focus is on education through hands on experience. Very experienced experts are contactable and there are regular demonstrations in the area.
Valle de Sensaciones – Artistic construction with adobe, Experimental ground and theme park for creative living close to nature
World Monuments Fund – Adobe Missions of New Mexico – Description of a project of the World Monuments Fund for the preservation of adobe churches in New Mexico, in the United States.
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Of Love and Other Demons
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Of Love and Other Demons
First edition (Colombia)
Author
Gabriel García Márquez
Original title
Del amor y otros demonios
Translator
Edith Grossman
Country
Colombia
Language
Spanish
Publisher
Grupo Editorial Norma (Colombia)
Alfred A. Knopf (US)
Publication date
1994
Of Love and Other Demons (Spanish: Del amor y otros demonios) is a novel by Colombian author Gabriel García Márquez, first published in 1994.
In the prologue, García Márquez claims the novel is the fictional representation of a legend the author was told by his grandmother as a child: of a 12-year-old girl who contracts rabies but was believed to be a 'miracle-worker', with long flowing copper hair that continues to grow after death. In this frame-story, it was only after an excavation of tombs that García Márquez is witness to the grave of a similar young girl with long red hair still attached to the skull, that he was inspired to write Of Love and Other Demons.
Mariana Solanet, however, in García Márquez for Beginners, states this source was invented. She points rather to a story in Daniel Lemaitre's History of Cartagena that García Márquez came across in research for Love in the Time of Cholera.
In 2008, the opera Love and Other Demons, by Hungarian composer Péter Eötvös was premiered at the Glyndebourne Festival.
Plot[edit]
Sierva Maria de Todos Los Angeles
The twelve-year-old daughter of the Marquis and his wife Bernarda. Her hair has never been cut, and was promised to the saints when she was born with the umbilical cord around her neck. She was raised by the slaves, fluent in multiple African languages, and familiar with the customs. In the beginning of the book she is bit by a rabid dog. Even though she shows no signs of rabies, she is subject to multiple "healing" methods, which can be considered torture. She is sent to the convent of Santa Clara to receive an exorcism, which many people have died from. She receives attention from a priest, Father Cayetano, who is kind to her and initially believes she doesn't need to be exorcised. Father Cayetano falls in love with Sierva Maria and declares her his love; he soon begins visiting Sierva in her cell in secret, climbing up from the sewer (that in future is fixed). They eat, sleep, and recite poetry together, even though it doesn't appear that they are sexually involved. Later Father Cayetano is sent away to a leper hospital where he hopes to get the disease but never does. Sierva Maria in the meantime is last summoned to be exorcised and she eventually dies 'of love' wondering where Father Cayetano is and after having her hair cut. After her death her hair magically grows back on her skull.
Film[edit]
Main article: Of Love and Other Demons (film)
References[edit]
Solanet, Mariana. García Márquez for Beginners. New York: Writers and Readers, 2001.
[hide]
v
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Works by Gabriel García Márquez
Novels
In Evil Hour
One Hundred Years of Solitude
The Autumn of the Patriarch
Chronicle of a Death Foretold
Love in the Time of Cholera
The General in His Labyrinth
Of Love and Other Demons
Memories of My Melancholy Whores
Short stories
Leaf Storm
No One Writes to the Colonel
Big Mama's Funeral
The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother
Strange Pilgrims
The Handsomest Drowned Man in the World
A Very Old Man with Enormous Wings
Non-fiction
The Story of a Shipwrecked Sailor
Clandestine in Chile
News of a Kidnapping
Living to Tell the Tale
Speech
The Solitude of Latin America
Authority control
WorldCat Identities
GND: 4627865-5
SUDOC: 133342360
VIAF: 217038703

This article about a 1990s novel is a stub. You can help Wikipedia by expanding it.
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See guidelines for writing about novels. Further suggestions might be found on the article's talk page.
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text:
Fear and Loathing in Las Vegas
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Fear and Loathing in Las Vegas (disambiguation).
Fear and Loathing in Las Vegas
First edition
Author
Hunter S. Thompson
Illustrator
Ralph Steadman
Country
United States
Language
English
Series
Gonzo Series
Genre
Gonzo journalism
Publisher
Random House
Publication date
November 11, 1971 and November 25, 1971 (magazine)
July 1972 (book)
Media type
Print (Hardback & Paperback)
Pages
204 pp
ISBN
0-679-78589-2
OCLC
41049769
Dewey Decimal
070/.92 B 21
LC Class
PN4874.T444 A3 1998b
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Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream is a novel by Hunter S. Thompson, illustrated by Ralph Steadman. The book is a roman à clef, rooted in autobiographical incidents. The story follows its protagonist, Raoul Duke, and his attorney, Dr. Gonzo, as they descend on Las Vegas to chase the American Dream through a drug-induced haze, all the while ruminating on the failure of the 1960s countercultural movement. The work is Thompson's most famous book, and is noted for its lurid descriptions of illegal drug use and its early retrospective on the culture of the 1960s. Its popularization of Thompson's highly subjective blend of fact and fiction has become known as gonzo journalism. The novel first appeared as a two-part series in Rolling Stone magazine in 1971, and was published as a book in 1972. It was later adapted into a film of the same name in 1998 by Terry Gilliam, starring Johnny Depp and Benicio del Toro who portrayed Raoul Duke and Dr. Gonzo, respectively.
Contents
[hide]
1 Origins
2 Plot
3 Major themes
3.1 The "wave speech"
4 Title
5 Reactions to the novel
6 As a work of gonzo journalism
7 Illustrations
8 Audio adaptation
9 Film adaptation
10 Graphic novel adaptation
11 References
12 External links
Origins[edit]
Thompson (left) and Oscar Zeta Acosta in 1971
The novel Fear and Loathing in Las Vegas is based on two trips to Las Vegas, Nevada, that Hunter S. Thompson took with attorney and Chicano activist Oscar Zeta Acosta in March and April 1971. The first trip resulted from an exposé Thompson was writing for Rolling Stone magazine about the Mexican-American television journalist Rubén Salazar, whom officers of the Los Angeles County Sheriff's Department had shot and killed with a tear gas grenade fired at close range during the National Chicano Moratorium March against the Vietnam War in 1970. Thompson was using Acosta—a prominent Mexican-American political activist and attorney—as a central source for the story, and the two found it difficult for a brown-skinned Mexican to talk openly with a white reporter in the racially tense atmosphere of Los Angeles, California. The two needed a more comfortable place to discuss the story and decided to take advantage of an offer from Sports Illustrated to write photograph captions for the annual Mint 400 desert race being held in Las Vegas from March 21-23, 1971.
Thompson wrote that he concluded their March trip by spending some 36 hours alone in a hotel room "feverishly writing in my notebook" about his experiences.[1] These writings became the genesis of Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream.
What originally was a 250-word photo caption assignment for Sports Illustrated grew to a novel-length feature story for Rolling Stone; Thompson said publisher Jann Wenner had "liked the first 20 or so jangled pages enough to take it seriously on its own terms and tentatively scheduled it for publication — which gave me the push I needed to keep working on it." He had first submitted a 2,500-word manuscript to Sports Illustrated that was "aggressively rejected."[2]
Weeks later, Thompson and Acosta returned to Las Vegas to report for Rolling Stone on the National District Attorneys Association's Conference on Narcotics and Dangerous Drugs being held from April 25-29, 1971, and to add material to the larger Fear and Loathing narrative. Besides attending the attorneys' conference, Thompson and Acosta looked for ways in Vegas to explore the theme of the American Dream, which was the basis for the novel's second half, to which Thompson referred at the time as "Vegas II".[3]
On April 29, 1971, Thompson began writing the full manuscript in a hotel room in Arcadia, California, in his spare time while completing "Strange Rumblings in Aztlan," the article chronicling the death of Salazar.[1] Thompson joined the array of Vegas experiences within what he called "an essentially fictional framework" that described a singular free-wheeling trip to Vegas peppered with creative licenses.[1]
In November 1971, Rolling Stone published the combined texts of the trips as Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream as a two-part article illustrated by Ralph Steadman, who, two years before, had worked with Thompson on a Scanlan's Monthly article titled "The Kentucky Derby Is Decadent and Depraved".[4] Random House published the hardcover edition in July 1972, with additional Steadman illustrations; The New York Times said it is "by far the best book yet on the decade of dope,"[5] with Tom Wolfe describing it as a "scorching epochal sensation."[6]
Plot[edit]
The novel lacks a clear narrative and frequently delves into the surreal, never quite distinguishing between what is real and what is only imagined by the characters. The basic synopsis revolves around journalist Raoul Duke (Hunter S. Thompson) and his attorney, Dr. Gonzo (Oscar Zeta Acosta), as they arrive in Las Vegas in 1971 to report on the Mint 400 motorcycle race for an unnamed magazine. However, this job is repeatedly obstructed by their constant use of a variety of recreational drugs, including LSD, ether, cocaine, alcohol, mescaline, and cannabis. This leads to a series of bizarre hallucinogenic experiences, during which they destroy hotel rooms, wreck cars, and have visions of anthropomorphic desert animals, all the while ruminating on the decline of both the "American Dream" and the '60s counterculture in a city of greed.
Major themes[edit]
The preface quotes Samuel Johnson: "He who makes a beast of himself gets rid of the pain of being a man." The quotation alludes to the protagonists' profuse drug use in escaping the coarse realities of American life; passages detail the failed counterculture, people who thought drug use was the answer to society's problems. The contradiction of "solace in excess" is thematically similar to The Great Gatsby.[original research?]
Thompson posits that his own drug use (unlike Timothy Leary's mind-expansion experimentation drug use) is intended to render him a mess; that he is the poster boy of a generation of "cripples and seekers..."; their erratic behaviour depicts the restless failure his generation feels.
Throughout Fear and Loathing in Las Vegas, the protagonists go out of their way to degrade, abuse, and destroy symbols of American consumerism and excess, while Las Vegas symbolizes the coarse ugliness of mainstream American culture.
The "wave speech"[edit]
The "wave speech" is an important passage at the end of the eighth chapter that captures the hippie zeitgeist and its end.
Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a Main Era—the kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run… but no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time and the world. Whatever it meant.…
History is hard to know, because of all the hired bullshit, but even without being sure of "history" it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time—and which never explain, in retrospect, what actually happened.
My central memory of that time seems to hang on one or five or maybe forty nights—or very early mornings—when I left the Fillmore half-crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheepherder's jacket… booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the toll-gate, too twisted to find neutral while I fumbled for change)... but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: No doubt at all about that…
There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda.… You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning.…
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.…
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 kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.
Thompson often cited this passage during interviews, choosing it when asked to read aloud from the novel.[4]
Title[edit]
Fear and Loathing in Las Vegas is Thompson's most famous work, and is known as "Fear and Loathing" for short; however, he later used the phrase "Fear and Loathing" in the titles of other books, essays, and magazine articles.
Moreover, "Fear and Loathing", as a phrase, has been used by many writers, the first (possibly) being Friedrich Nietzsche in The Antichrist. In a Rolling Stone magazine interview, Thompson said: "It came out of my own sense of fear, and [is] a perfect description of that situation to me, however, I have been accused of stealing it from Nietzsche or Kafka or something. It seemed like a natural thing."[7]
He first used the phrase in a letter to a friend written after the Kennedy assassination, describing how he felt about whoever had shot President John F. Kennedy.[8] In "The Kentucky Derby is Decadent and Depraved", he used the phrase to describe how people regarded Ralph Steadman upon seeing his caricatures of them.
Jann Wenner claims that the title came from Thomas Wolfe's The Web and the Rock.[9][10]
Reactions to the novel[edit]
When it was published in fall of 1971, many critics did not like the novel's loose plot and the scenes of drug use; however, some reviewers predicted that Fear and Loathing in Las Vegas would become an important piece of American literature.
In The New York Times, Christopher Lehmann-Haupt told readers to not "even bother" with the novel, and that "what goes on in these pages make[s] Lenny Bruce seem angelic"; however, he acknowledged that the novel's true importance is in Thompson's literary method: "The whole book boils down to a kind of mad, corrosive prose poetry that picks up where Norman Mailer's An American Dream left off and explores what Tom Wolfe left out".[11]
As the novel became popular, the reviews became positive; Crawford Woods, also in The New York Times, wrote a positive review countering Lehmann-Haupt's negative review: the novel is "a custom-crafted study of paranoia, a spew from the 1960s and — in all its hysteria, insolence, insult and rot — a desperate and important book, a wired nightmare, the funniest piece of American prose"; and "this book is such a mind storm that we may need a little time to know that it is also literature. . . it unfolds a parable of the nineteen-sixties to those of us who lived in them in a mood — perhaps more melodramatic than astute — of social strife, surreal politics and the chemical feast." About Thompson, Woods said he "trusts the authority of his senses, and the clarity of a brain poised between brilliance and burnout".[12]
In any event, Fear and Loathing in Las Vegas became a benchmark in American literature about U.S. society in the early 1970s. In Billboard magazine, Chris Morris said, "Through Duke and Gonzo's drug-addled shenanigans amid the seediness of the desert pleasure palaces, it perfectly captured the zeitgeist of the post–'60s era".[13] In Rolling Stone magazine, Mikal Gilmore wrote that the novel "peers into the best and worst mysteries of the American heart" and that Thompson "sought to understand how the American dream had turned a gun on itself". Gilmore believes that "the fear and loathing Thompson was writing about — a dread of both interior demons and the psychic landscape of the nation around him — wasn't merely his own; he was also giving voice to the mind-set of a generation that had held high ideals and was now crashing hard against the walls of American reality".[14]
Cormac McCarthy has called the book "a classic of our time" and one of the few, great modern novels.[15]
As a work of gonzo journalism[edit]
Main article: Gonzo journalism
In the book The Great Shark Hunt, Thompson refers to Fear and Loathing in Las Vegas as "a failed experiment in the gonzo journalism" he practiced, which was based on William Faulkner's idea that "the best fiction is far more true than any kind of journalism — and the best journalists have always known this".[1] Thompson's style blended the techniques of fictional story-telling and journalism.
He called it a failed experiment because he originally intended to record every detail of the Las Vegas trip as it happened, and then publish the raw, unedited notes; however, he revised it during the spring and summer of 1971. For example, the novel describes Duke attending the motorcycle race and the narcotics convention in a few days' time; the actual events occurred a month apart.[16] Later, he wrote, "I found myself imposing an essentially fictional framework on what began as a piece of straight/crazy journalism".[1] Nevertheless, critics call Fear and Loathing Thompson's crowning achievement in gonzo journalism. For example, journalist and author Mikal Gilmore said the novel "feels free wheeling when you read it [but] it doesn't feel accidental. The writing is right there, on the page — startling, unprecedented and brilliantly crafted".[14] Critics believe that Fear and Loathing in Las Vegas should be considered a work of gonzo journalism because the characteristics of gonzo journalism are all characteristics seen in the novel.
Illustrations[edit]
Main article: Ralph Steadman
British cartoonist Ralph Steadman added his unique and grotesque illustrations to the Rolling Stone issues and to the novel. Steadman had first met Thompson when Scanlan's Monthly hired Steadman to do the illustrations for Thompson's first venture into gonzo journalism called "The Kentucky Derby Is Decadent and Depraved."
Many critics have hailed Steadman's illustrations as another main character of the novel and companion to Thompson's disjointed narrative. The New York Times noted that "Steadman's drawings were stark and crazed and captured Thompson's sensibility, his notion that below the plastic American surface lurked something chaotic and violent. The drawings are the plastic torn away and the people seen as monsters."[17]
Steadman has expressed regret at selling the illustrations, at the advice of his agent to Rolling Stone founder Jann Wenner for the sum of $75. As a result of that transaction Steadman has largely refused to sell any of his original artwork and has been quoted as saying "If anyone owns a Steadman original, it's stolen." While there are original pieces held outside his archive, they are exceedingly rare. The artist has kept possession of the vast bulk of his artwork.
Audio adaptation[edit]
An audiobook version was released by Margaritaville Records and Island Records in 1996, on the 25th anniversary of the book's original publication. It features the voice talents of Harry Dean Stanton as the narrator/an older Hunter S. Thompson, Jim Jarmusch as Raoul Duke, and Maury Chaykin as Dr. Gonzo, with Jimmy Buffett, Joan Cusack, Buck Henry and Harry Shearer in minor roles. Unlike most audiobooks, sound effects, period-appropriate music and album-like sound mixing are used extensively, to give it the surreal feeling characteristic of the book. Quotes from Thompson himself bookend the album.
The album is presumably out-of-print, due to its relative rarity, but is sought after by fans for its high production values and faithfulness to the book's tone. Excerpts of it were included in the Criterion Collection release of the movie.
Film adaptation[edit]
Main article: Fear and Loathing in Las Vegas (film)
The novel's popularity gave rise to attempted cinematic adaptations; directors Martin Scorsese and Oliver Stone each unsuccessfully attempted to film a version of the novel. In the course of these attempts, Jack Nicholson and Marlon Brando were considered for the roles of Duke and Dr. Gonzo but the production stalled and the actors aged beyond the characters. Afterwards, Dan Aykroyd and John Belushi were considered, but Belushi's death ended that plan.[18] Art Linson's 1980 film Where the Buffalo Roam starring Bill Murray and Peter Boyle is based on a number of Thompson's stories, including Fear and Loathing in Las Vegas.
In 1989, Fear and Loathing in Las Vegas was almost made by director Terry Gilliam when he was given a script by illustrator Ralph Steadman. Gilliam, however, felt that the script "didn't capture the story properly". In 1995, Gilliam received a different script he felt worth realising; his 1998 film features Johnny Depp and Benicio del Toro as "Raoul Duke" and "Dr Gonzo", respectively; however, criticism was mixed and the film was a box office failure.[19] It has since developed a cult following due in large part to its release on DVD, including a Special Edition released by The Criterion Collection.[citation needed]
Graphic novel adaptation[edit]
In July 2013, IDW Publishing announced plans to publish an adaptation of Fear and Loathing in Las Vegas in graphic novel format.[20] IDW's imprint Top Shelf Productions subsequently announced more details about the graphic novel, adapted by Canadian artist Troy Little, which was released in late October 2015.[21] In interviews, Little said "We decided right off the bat not to go the Steadman route, or be too influenced by the movie either, and draw Johnny Depp and Benicio Del Toro. So we wanted to make it its own unique thing... For me, capturing the manic energy and spirit of the book, and staying true to the feel of Fear and Loathing was my big goal."[22]
References[edit]
^ Jump up to: a b c d e Thompson, Hunter S. Jacket Copy For Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream
Jump up ^ Thompson, Hunter (1979). The Great Shark Hunt: Strange Tales from a Strange Time (1st ed.). Summit Books. pp. 105–109. ISBN 0-671-40046-0.
Jump up ^ Thompson, Hunter S. Fear and Loathing In America Simon & Schuster 2000 p.379-385
^ Jump up to: a b Gilmore, Mikal. (March 24, 2005). The Last Outlaw. Rolling Stone, 970, 44-47
Jump up ^ Woods, Crawford (July 23, 1972). Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream. By Hunter S. Thompson. Illustrations by Ralph Steadman. 206 pp. New York: Random House. $5.95. The New York Times Book Review, pp.17.
Jump up ^ Back cover, [1] Fear and Loathing in Las Vegas 1972.
Jump up ^ O' Rourke, P.J. Fear and Loathing at 25 : Rolling Stone. Rolling Stone. November 28, 1996.
Jump up ^ Thompson, Hunter (1998). Proud Highway. New York: Ballantine Books. ISBN 0-345-37796-6.
Jump up ^ Wenner, Jann (2007). Gonzo: The Life of Hunter S. Thompson. Little, Brown and Company. p. 112. ISBN 0-316-00527-4.
Jump up ^ Wolfe, Thomas (1 January 1973). "The Web and the Rock". Perennial Library – via Google Books.
Jump up ^ Lehmann-Haupt, Christopher. (June 22, 1972). Heinous Chemicals at Work. The New York Times, p. 37
Jump up ^ Woods, Crawford (July 23, 1972). Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream. By Hunter S. Thompson. Illustrations by Ralph Steadman. 206 pp. New York: Random House. $5.95. The New York Times Book Review, pp.17
Jump up ^ Morris, Chris. (October 26, 1996). Hunter S. Thompson Brings 'Fear and Loathing' to Island. Billboard magazine, 43, 10
^ Jump up to: a b Gilmore, Mikal. (March 24, 2005). The Last Outlaw. Rolling Stone, 970, 44-47
Jump up ^ "Cormac McCarthy's Apocalypse". 74.220.215.94. Retrieved 2015-09-11.
Jump up ^ Taylor, Andrew F. 1997 The City: In search of Thompson's Vegas Las Vegas Sun
Jump up ^ Cohen, Rich. April 17, 2005. Gonzo Nights. The New York Times Book Review, p. 12.
Jump up ^ IMDb article on Fear and Loathing in Las Vegas, trivia section[unreliable source?]
Jump up ^ "Fear and Loathing in Las Vegas Reviews - Metacritic". metacritic.com. Retrieved 2015-09-11.
Jump up ^ Graser, Marc (July 20, 2013). "Comic-Con: IDW Gets Graphic with Hunter S. Thompson". Variety. Retrieved 2015-11-12.
Jump up ^ "Hunter S. Thompson's FEAR AND LOATHING IN LAS VEGAS (The Graphic Novel), Adapted by Troy Little!". Top Shelf Productions. May 27, 2015. Retrieved 2015-11-12.
Jump up ^ Rivera, Joshua (November 8, 2015). "How Do You Channel the Fear and Loathing of Hunter S. Thompson's Craziest Road Trip Into a Comic?". GQ. Missing or empty |url= (help); |access-date= requires |url= (help)
External links[edit]
Wikiquote has quotations related to: Fear and Loathing in Las Vegas (novel)
Excerpt from original Rolling Stone article
Fear and Loathing in Las Vegas on IMDb
Book Review by Nick Christenson
Las Vegas Sun investigation into the actual historical events surrounding the book. Includes many other FLLV-related articles.
The American Dream & Hunter Thompson's 'Fear & Loathing' Essay and Review by Lucian K. Truscott IV for the Village Voice originally published July 13, 1972
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