The 50th-anniversary edition of the classic, savagely comic account of a trip to Las Vegas that came to represent what happened to America in the 1960s—and a founding document of “gonzo journalism”—featuring the original artwork by Ralph Steadman and a new introduction by Caity Weaver First published in
Rolling Stone magazine in 1971,
Fear and Loathing in Las Vegas is told through Hunter S. Thompson’s story of an assignment he undertook with his attorney to visit Las Vegas and “check it out.” The book stands as the final word on the highs and lows of that decade, one of the defining works of our time, and a stylistic and journalistic tour de force. As Christopher Lehmann-Haupt wrote in
The New York Times, it has “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.”
This 50th-anniversary Modern Library edition features Ralph Steadman’s original drawings, a new introduction by
New York Times writer Caity Weaver, and three companion pieces selected by Thompson: “Jacket Copy for
Fear and Loathing in Las Vegas,” “Strange Rumblings in Aztlan,” and “The Kentucky Derby Is Decadent and Depraved.”
First published in Rolling Stone magazine in 1971, Fear and Loathing in Las Vegas is Hunter S. Thompson's savagely comic account of what happened to this country in the 1960s. It is told through the writer's account of an assignment he undertook with his attorney to visit Las Vegas and "check it out." The book stands as the final word on the highs and lows of that decade, one of the defining works of our time, and a stylistic and journalistic tour de force. As Christopher Lehmann-Haupt wrote in The New York Times, it has "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."
This Modern Library edition features Ralph Steadman's original drawings and three companion pieces selected by Dr. Thompson: "Jacket Copy for Fear and Loath-
ing in Las Vegas," "Strange Rumblings in Aztlan," and "The Kentucky Derby Is Deca-
dent and Depraved."
“[A book] in the zonked, road-writing tradition of Jack Kerouac.”
—The New Republic, 1972“A scorching, epochal sensation!”
—Tom Wolfe“What goes on in these pages makes Lenny Bruce seem angelic.”
—The New York Times, 1972“He is really much more than a journalist. Not a journalist at all, but one who sees—a seer.”
—Edward Abbey 
