LitCharts assigns a color and icon to each theme in Fear and Loathing in Las Vegas, which you can use to track the themes throughout the work.
American Culture and Counterculture
The American Dream
Drugs and American Society
News and Journalism
Violence
Summary
Analysis
Duke is eager to get to his room. He wants to rest, smoke his “last big chunk of Singapore Grey,” and watch Walter Cronkite. He needs to regroup before the Drug Conference, which will be nothing like covering the Mint 400. Duke and Gonzo will “be attending the conference under false pretenses and dealing, from the start, with a crowd that is convened for the stated purpose of putting people like [them] in jail.” Still, Duke plans to take drugs and storm the conference—but “not to prove any final, sociological point, and not even as a conscious mockery.” No, now it is “mainly a matter of life-style, a sense of obligation and even duty.” If the cops are meeting for a “top-level Drug Conference,” then Duke feels “the drug culture should be represented too.”
Singapore Grey is a type of opium, which again highlights Duke’s excessive drug use, but also reflects Duke’s dedication to the counterculture. Taking drugs and resisting mainstream society has become a lifestyle for Duke, and he won’t abandon it simply because the counterculture failed to effect any lasting change in American society. Duke’s reference to Walter Cronkite, a famous network news anchor in the ‘70s, again harkens to journalism and its importance in mainstream culture.
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Quotes
As Duke opens the door to his room, he hits a human figure on the other side. It is a girl of “indeterminate age with the face and form of a Pit Bull.” She stares at Duke with eyes full of anger. “You degenerate pig,” Duke says to Gonzo, who is standing naked in the bathroom door. “It can’t be helped,” Gonzo says. “This is Lucy.” The girl continues to stare at Duke with hate and violence in her eyes. “Lucy!” yells Gonzo. “Lucy! Be cool, goddamn it! Remember what happened at the airport…no more of that, OK?”
Lucy’s “indeterminate age” suggests that she is very young and not yet eighteen, or a legal adult, and Gonzo’s nakedness implies that he has behaved inappropriately with the girl—Duke later implies that Gonzo has raped her. Even if Gonzo’s interaction with Lucy is consensual, she is still likely underage and on drugs, which makes this encounter statutory rape at the very least. This encounter reflects the sexism and violence against women typically seen in American society.
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Gonzo explains to Lucy that Duke is his client and friend, and she starts to calm down. Duke looks around and sees several paintings cluttering the room. “Lucy paints portraits of Barbara Streisand,” Gonzo says. “She’s an artist up in Montana.” Gonzo says that they plan to go to the American Hotel tonight to meet Barbara backstage. Obviously, Duke thinks, they have “a serious case on their hands.” Duke turns to Gonzo and asks him to help unload the car. He agrees and turns to Lucy: “We’ll be right back. Don’t answer the phone if it rings.”
While Lucy’s violence certainly seems understandable and even warranted since she was presumably just raped, Duke also describes her as a violent person in general. Furthermore, her obsession with Barbara Streisand suggests that she isn’t quite mentally sound, or at the very least is exceedingly young, which makes Gonzo’s abuse of her even more horrifying.
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“Well…” Duke says to Gonzo outside. “What are your plans?” Gonzo explains that he met Lucy on the plane. She had just run away from home for the fifth time in six months, and Gonzo didn’t realize until after he had given her acid that she has never even had a drink. “Jesus,” Gonzo says, “she’s a religious freak.” Gonzo stares at Duke. “Well,” says Duke, “it’ll probably work out. We can keep her loaded and peddle her ass at the drug convention.”
When Duke mentions “peddling [Lucy’s] ass” at the convention, he means to say that they should pimp her out for sex and make money off of her. This gross form of sexual exploitation again underscores sexism and violence against women in American society. Duke sees Lucy as simply another tool to make money with.
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“Jesus Christ,” yells Gonzo. “I knew you were sick, but I never expected to hear you actually say that kind of stuff.” After they unload the car, they head back to the room to try to talk some sense into Lucy. She can’t stay with them, Duke says. It is entirely possible that in a few hours she will “work herself into a towering Jesus-based rage at the hazy recollection of being picked up and seduced in the Los Angeles International Airport by some kind of cruel Samoan who fed her liquor and LSD, then dragged her to a Vegas hotel room and savagely penetrated every orifice in her body with his throbbing, uncircumcised member.” This girl is a “walking bomb,” says Duke, and the authorities might even call it kidnapping. “You’re right,” says Gonzo. “They’d probably burn me at the goddamn stake.”
Of course, Gonzo deserves to be held accountable for what he has done to Lucy. Giving her drugs and using her for sex is a crime, but Gonzo gets away with it. Ironically, Gonzo is disturbed by Duke’s suggestion that they pimp Lucy out for money, but he seems fine with using her for his own sexual pleasure for free. Either way, Lucy has been seriously exploited. In this vein, Thompson suggests that women are incredibly mistreated in American society, one of the main civil rights issues the counterculture tried, mostly unsuccessfully, to address.
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Duke and Gonzo tell Lucy it is time to “go meet Barbara,” and after packing up all her portraits, they head in the direction of the airport. They stop at a telephone where Gonzo makes Lucy a reservation at the Americana. He tells the desk clerk that he is the girl’s uncle, and that she must be “treated very gently” because she “is an artist” and “a trifle high-strung.” Then, Duke drives to the airport where Gonzo gets Lucy out of the car, telling her that they are trading the Cadillac for a Mercedes. Gonzo walks inside with Lucy but comes out alone and gets into the car. “Take off slowly,” he tells Duke. “Don’t attract any attention.”
Gonzo’s comment that they are going to trade in the Cadillac for a Mercedes again highlights the importance of capitalism and consumerism in American society—the two men keep seeking objects that represent ever more luxury and status. Even though Gonzo has treated Lucy so poorly, he still makes sure that she is treated well at the Americana, which suggests that he isn’t quite as violent and horrible as he seems.
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Gonzo tells Duke that he paid a cab driver to take Lucy over to the Americana and see that she checks in. He had told the cabbie that he would be there himself in an hour, and if Lucy isn’t checked in by then, he’s coming “back out here [to] rip his lungs out.” Duke suggests taking it easy for the rest of the night, and Gonzo agrees. He wants to find a restaurant and get a fresh salmon dinner. “But first we should go back to the hotel and settle in,” Duke says. “Maybe have a quick swim and some rum.” They both agree and drive away.
Gonzo is immediately violent again and threatens to “rip out” the desk clerk’s lungs if he doesn’t do as he says. Other than the V-8 in Duke’s Bloody Marys and the grapefruit used to combat bad LSD trips, this is the first time either Duke or Gonzo have mentioned food since coming to Vegas, which again speaks to the surreal extent of their drug and alcohol binge.