As I mentioned in an earlier post on one of Hunter S. Thompson’s famous early books, I discovered the writer at a particularly susceptible age … teenagers of my generation were generally suckers for counter-culture heroes (being too young to be actual hippies because we were in primary school when the Summer of Love flew past, and therefore feeling we’d missed out on something Big and Important and Meaningful). As a gullible teen, I believed Fear and Loathing in Las Vegas was mostly factual with some obvious-even-to-me embroideries for dramatic or comedic effect. I could easily forgive the guessed-at 10% fiction, but Thompson eventually admitted that the majority of the story was bullshit. Entertaining bullshit, but bullshit.

Which, as it happens, turns out to have been Thompson’s life-long modus operandi, as Kevin Mims repeatedly highlights in his Quillette review of David S. Wills’ biography called High White Notes: The Rise and Fall of Gonzo Journalism:

In High White Notes, his riveting new biography of Hunter S. Thompson, journalist David S. Wills describes Thompson as America’s first rock star reporter and compares him to Mick Jagger. But by the time I finished the book, I’d decided that Thompson bore a closer resemblance to Donald Trump. The two men were born nine years apart, during white American masculinity’s golden age. Both were obsessed with politics without possessing anything that could be described as a coherent political philosophy. Both men longed for some mythical American paradise of the past. Both men screwed over multiple friends and business partners. Both men would have gone broke if not for the frequent intervention of helpful patrons. Both men were egomaniacs fond of self-mythologizing and loath to share a spotlight with anyone. Both men enjoyed making disparaging remarks about women, minorities, the disabled, and other disadvantaged people. Both men were frequently disloyal to their most loyal aiders and abetters. Thompson’s endless letter writing and self-pitying 3am telephone calls to friends and colleagues were the 20th century equivalent of Trump’s late-night Twitter tantrums. Both men generally exaggerated their successes and blamed their failures on others. Both men mistreated their wives. Both men nursed a constant (and not entirely irrational) sense of grievance against perceived enemies in the government and the media. Both men had a colossal sense of entitlement …

The list could go on and on. Trump actually fares better than Thompson by various measures. For instance, Trump has never had a drug or alcohol problem, as far as I know. Thompson was a drug and alcohol problem. The first US president in living memory without a White House pet seems to have no interest in animals. Thompson enjoyed tormenting them. Rumors have circulated since 2015 that a recording exists of Trump using a racial slur but since the evidence has never surfaced, it might be fairer to conclude (at least provisionally) that this is not one of his many character failings. Thompson’s published and (especially) unpublished writings are full of such language.

All of which may lead you to conclude that High White Notes is not a favorable account of Hunter S. Thompson’s life and work. To the contrary, David S. Wills is a Thompson devotee who considers his subject to have been a great writer and, at times, a great journalist. But Wills is an honest guide, so his endlessly entertaining biography manages to be both a fan’s celebration and unsparing in its criticism of Thompson and his work.

Though impressive, the book is not without faults. Wills relies too heavily on cliché (“This book will pull no punches”; “breathing down his neck for the final manuscript”; “women threw themselves at him” etc.), and has a tendency to find profundity in unnaturally strained readings of Thompson’s prose. For instance, Wills describes a scene from a 1970 profile Thompson wrote of French skier Jean-Claude Killy, in which three young boys approach Thompson and ask if he is Killy. Thompson tells them that he is, then holds up his pipe and says, “I’m just sitting here smoking marijuana. This is what makes me ski so fast.” This sounds to me like standard Thompson misbehavior, but Wills infers something more complex: “On the surface, it appears to be comedy for the sake of comedy but in fact it is a comment on the nature of celebrity and in particular Killy’s empty figurehead status.” And when Thompson describes Killy as resembling “a teenage bank clerk with a foolproof embezzlement scheme,” Wills remarks, “Thompson has succeeded mightily not just in conveying [Killy’s] appearance but in hinting at his personality. He has placed an image in the head of his reader that will stick there permanently. It was something F. Scott Fitzgerald achieved, albeit in more words, when he had Nick Carraway describe Jay Gatsby’s smile.” (The book, by the way, takes its title from Fitzgerald, who used the phrase to describe short passages of writing so beautiful that they stand out from the larger work of which they are a part.)

[…]

Thompson’s big break as a writer came in 1965 when he was hired to write an article about the Hell’s Angels motorcycle gang for the Nation. The piece was so popular that Thompson found himself besieged by publishers who wanted him to expand it into a full-length nonfiction book. The Thompsons moved into the Haight-Ashbury district of San Francisco and Thompson set about writing Hell’s Angels, the 1967 book that would make him famous. Even in that first book, written before he had fully formulated the concept of Gonzo journalism, Thompson was already tinkering with the truth and engaging in the kind of self-mythologizing that would become a hallmark of his work. And that didn’t sit well with the Hell’s Angels themselves. According to Sonny Barger, a founding member of the Angels, Thompson “would talk himself up that he was a tough guy, when he wasn’t. When anything happened, he would run and hide.” Barger’s assessment of the book was terse: “It was junk.”

Wills notes that Thompson “tended to write about himself in ways that built his legend … to prove his machismo on paper. The back cover [of Hell’s Angels] describes him as ‘America’s most brazen and ballsy journalist’ and in the book he tells the story of first meeting the Angels and trying to impress them by shooting out the windows of his own San Francisco home. Such moments of bravado tend to enter the story very briefly and seem to serve little purpose beyond this self-mythologizing.”

But it was exactly this kind of self-mythologizing — the bragging about his drug use and general misbehavior — that editors of American magazines found so exciting about Thompson’s work, so it’s no wonder that he engaged in so much of it. It was his wild man persona that made Warren Hinckle of Scanlan’s Monthly want to unleash him among the socialites of Louisville. Still, Thompson didn’t fully emerge as a countercultural hero until he began to write for a small start-up publication in San Francisco called Rolling Stone.