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In ‘Puerto Escondido’ oltre al viaggio fisico dei personaggi e tutto ciò che ne consegue (e di cui ho già parlato), è anche presente un piccolo accenno al ‘viaggio psichedelico’, nella celebre scena dove, Mario (Diego Abatantuono) per resistere al deserto, mangia il peyote, famoso allucinogeno messicano. Ed è proprio attraverso il viaggio psichedelico che Hunter S. Thompson ci offre il suo punto di vista su cosa era l’America negli anni 70, dopo l’affievolirsi del movimento sessantottino.
‘Fear and Loathing in Las Vegas’ is a cult book of an entire generation. It tells the story of a journey made in 1971 by the American sports journalist Hunter S. Thompson, here with the pseudonym of ‘Raoul Duke’ , along with his attorney Oscar Zeta Acosta here with the pseudonym of ‘Dr. Gonzo’ , on board of a showy red convertible Chevrolet. The destination is Las Vegas, capital of gamble and of the most sparkling and perverse American conformism, where the ‘Mint 400’ takes place, a famous and ramshackle motorbike and Dune – Buggy race. The declared aim is to ‘discover the American Dream’. From the beginning, the journey reveals to be hallucinating, irreverent, exhilarating and desperate. The two heroes, under the effect of a mixture of drugs that is second to none, witness a total transformation of reality, that assumes the most unpredictable facets, from the psychedelic, colored, fantastic, to those grotesque and tragic of nightmare and despair. A novel of great narrative power, written with a lucid and pressing style, supported by sensational dialogues, it depicts a masterly picture of those years’ America, the America of the defeated, lost in a chasm that drugs and shattered myths could not have overwhelmed. The journey takes place in a very particular and extraordinary year: 1971. USA is still in war in Vietnam, the president is still Richard Nixon, and one of the most dramatic currency crises perhaps of the world begins, including USA. Crises that in Italy, for example, led to austerity and other policies. But 1971 is also the year during which the rock culture conveys itself more than ever: for example is in this year that ‘Imagine’ by John Lennon is
released. Meanwhile many singers die and have died the year before of drugs abuse: Janis Joplin, Jimi Hendrix, Jim Morrison, Alan Wilson. Many singers approach that counterculture like Patti Smith. Hunter S. Thompson is son of this culture. The reference to the ‘Beat Generation’ is evident. The two main manifests of the ‘Beat Generation’ are the music of Woody Guthrie and ‘On The Road’ by Jack Kerouac. This is the context in which the book was born. From a narrative point of view, the book does not tell much. The journey is useful to tell Thompson’s vision of what America was becoming. This is the world he sees in front of him, a country where by now war is far and 80s + 90s walk up, years that in Hunter S. Thompson’s vision are very negative, so he takes refuge in this visionary 1971. As if the book said: “These two guys are making a drug – filled, hallucinatory journey, looking for what of the American Dream is left.” Is anything left indeed? No, it is not. Everything is bad and negative, including the characters they meet. So, we can say that Raoul Duke and his attorney may be defined as two ambassadors, two observers inside what is left of the American Dream in 1971. If we would really think about it, 80es and 90es America has not been much better: Nixon presidency was over but then later first presidency Bush came and then the second one with his son. The travel is useful to them to discover that nothing is left of the American Dream and to discover that even drugs could not help that generation to save themselves from what America was going to be.