How is decay or breakdown of Western society at large presented by Margret Atwood, Lawrence Ferlinghetti and Hunter S Thompson in their

respective texts?

In the works of all three authors which are the subject of this essay it is possible to perceive a palpable decay in the fabric of society. This social erosion may mean be differentiated in the different texts and perhaps even be a very different form of decay to the decay perceived by the other authors; but nevertheless decay is a prevalent theme in all three works. In this essay I intend to explore various possible interpretations of such decay. Atwood for example, in her dystopian novel The Handmaids Tale presents a society in which the conventional democracy of America has mutated and decayed into a totalitarian theocracy, and through using the medium of dystopia conveys her concerns of decay of democracy and culture in the present day. Thompson and Ferlinghetti seem to focus on the symptoms which have been contracted from a contagious, vicious and irresponsible form of capitalism which has become dominant in American society. These two authors create several focal points which overlap with the other two texts. For instance, in Thompsons nihilistic Fear and Loathing in Las Vegas, Thompson explores the status of the American Dream in a superficial society long past the failed zeitgeist of hope and peace which the 60s has so often been associated with. Ferlinghetti in his collection Americus and other relevant poems of his asserts that there has been a progressive regression and decay in the creative, spiritual and wondrous aspects of society alongside a decay of democracy and morality. Although Ferlinghettis staunch attack on capitalisms destructive morality differs greatly from Atwoods perceived decay of society into repressive extremism. It is also significant that the all the authors attribute part of this decay to successes and failings of certain social and political movements, and so this shall be the final aspect of my essay. In regard to a decay of democracy and governance all three of the authors are particularly vocal about their subjective observations of this decay. The historian Lord Acton once said that power tends to corrupt and absolute power tends to corrupt absolutely and this hypothesis seems to be pronounced in all three of the texts. In each of the texts a system of governance which should allow freedom for all, has decayed into oppression. For instance Ferlinghettis poem I in his collection Americus talks of Bush League Presidencies in totalitarian plutocracies, and in his poem III he declares that a poet must be an enemy of the state which would eat your liberties. The use of the term eat is particularly significant as it implies the plutocratic leviathan of the state literally sustains itself through consuming the freedoms of the masses. This recurring theme of totalitarianism and plutocratic governance clearly shows that Ferlinghetti perceives that American governments have decayed to a dystopian extent, where the rich minority wield the disproportionate authority. This sort of democracy is almost the antithesis of the ideal and fair democracy which was envisaged by the founding fathers in 1776. Similarly in The Handmaids Tale it is clear that the Republic of Gilead is a totalitarian state. However, the prevailing ideological dynamic is a theocracy and not the plutocracy which is perceived by Ferlinghetti. This view is summated by Barbara Kitt Seidman of Linfield College who asserts Gilead is a theocracy whose legal, political, and ethical strictures rest upon conservative interpretations of the Bible cannily used to Eliot Heath-Griffiths

legitimize a patriarchy of elite white males who repress the majority of the population through overtly racist and sexist policies1. A notable piece of evidence for this assertion is Offred stating they can hit us, theres scriptural precedent. This quotation exemplifies both the repression employed by the authorities and also the religious framework justifies it. Atwood in The Handmaids Tale illustrates the dire consequences that occur with erosions of freedom and also how eerily easily it could occur. Significantly through the theocracy of Gilead she warns of the dangers of following religious precedent to their extremes. An alternative view to this is that the theocratic elements of Gilead are simply a faade used by the architects of this society to create despotism. In a theocracy the real authority lies with the religious leader and not any civilian or military figures. The violent theocracy of Iran doubtlessly influenced Atwoods vision of Gilead, considering the proximity of the Islamic Revolution (1979) and the publication of The Handmaids Tale (1986). The real theocracy of Iran differs greatly from Gilead. For instance, although there is an elected president in Iran, he must subject to the wishes of the Ayatollahs. The authority in The Handmaids Tale lies with the despots, who are only the reciters of religious rhetoric. In fact in the entire novel not one priest is seen other than being hung up on the Wall. In Fear and Loathing, although Thompson does not show 70s Vegas to be a dictatorship like Gilead, there is certainly evidence to suggest elements of Ferlinghettis unjust plutocracy. Thompson seems aghast at the state of the political system and we can infer this from evidence such as Thompson declaration that America is a nation ruled by swine. Fear and Loathing has become famous for its invention of a new genre: gonzo journalism, which is an exaggerated form of journalism, where the author themselves becomes part of the story. Thompson once famously stated objective journalism is one of the main reasons American politics has been allowed to be so corrupt for so long. You can't be objective about Nixon! Thompson utilises the form of gonzo journalism in order to better articulate his criticisms of the government and of society itself which appalled him so much he could not remain journalistically neutral. Unlike Ferlinghetti and Thompson Atwood does not directly criticise real leaders in The Handmaids Tale, but certainly suggests that decay into corruption and tyranny are more than possible; even in a Western society such as America.

It is also significant to note that all of the authors go to lengths to explore the abuses of power in relation to warfare and general repression. A notable piece of evidence for such abuses of power and so a decay of governance would be Dukes description of an image on one side of a dune buggy. The said image is of a slant eyed snake being chopped to bits by a buzz saw made of stars and stripes. The violent image could be interpreted as a Vietnam War metaphor. This can be inferred from the fact that the snake is specifically described as slant eyed which is surely what we would assume from a snake. Therefore it could be interpreted that the stars and stripes buzz saw refers to the American invasion. The grotesque
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violence of the image certainly suggests Thompson views that the American invasion of Vietnam in the 60s through until 1975 was an unjust and immoral abuse of power. A snake may be a deadly creature but against the modern technology of a buzz saw or the American army then it is likely to be chopped to bit. This most likely implies Thompson views the Vietnam War as a repulsive abuse of power especially when we consider his open contempt for Nixon. Ferlinghettis poem A History of the Airplane is similar to Fear and Loathing because it displays criticisms of governmental abuses of military power. The quotation bombers that now began to visit their blessing on various Third Worlds all the while claiming they were searching for doves would support the assertion that Ferlinghetti, like Thompson, criticises governments that create unjust wars. The use of the phrase claiming they were searching for doves would seemingly relate to the ambiguous motives surrounding the Second Iraq War, especially when considering Ferlinghettis staunch opposition to the conflict. In The Handmaids Tale the reader can also interpret abuses of power from the enforcers of the totalitarian regime. For instance in chapter 14 we are told of the war which Gilead is waging against other religious groups, for example the Angels of the Apocalypse, Fourth Division, are smoking out a pocket of Baptist guerrillas. The fact that the army division is called Angels of the Apocalypse exhibits how far the faux theocracy has implanted itself into Gileadian society and a further indication of the extent to which Gilead uses theocracy as justification. The association of the army with apocalyptic angels demonstrates the pious sense of righteousness that the leaders of Gilead assert. They associate their troops with the agents of God and so assert divine support for destroying opposition. This can be compared to both Thompsons criticisms of the Vietnam War where ideological arguments were used and Ferlinghettis view of the Iraq War i.e. that Western governments used the pretence of peace to abuse their governmental power. The authors therefore lay heavy criticism upon governments who each wield huge authority, and who use it immorally to pursue their own aims. This in itself can be regarded as a severe decay from the platonic form of governance. Another aspect of decay in society which is a visible theme in all the works is prominent superficiality of modern Western society alongside a general decay of morality and spirituality; particularly as a result of capitalist tendencies. Ferlinghettis poem To the Oracle at Delphi gives a particularly insightful example of this when he talks of serious constellations with Greek names which still stare down on us, as a lighthouse moves its megaphone over the sea. The sudden change from the description of constellations to the lighthouse is highly bathetic and is an effective metaphor to demonstrate how the modern world has rendered wondrous aspects of the universe such as stars obsolete. The death of the American Dream visible in Fear and Loathing is highly akin to the decay of wonder proposed by Ferlinghetti. In Fear and Loathing Thompson continues the literary tradition of exploring the fallacy of the American Dream, following in the footsteps of greats such as Fitzgerald and Steinbeck. Thompson discovers that this sacrosanct dream, which many people held a fervent belief in has mutated, decayed and ultimately failed in its original ambition. While the majority of the novel is written in prose form, chapter 9 (in which Duke and his lawyer attempt to find the physical location of the Dream) takes the form of a transcript of their tape recordings. This change of form is comparable to the form of The Handmaids Tale, which we learn from the historical notes is a transcript made by Offred after the novels narrative ends. The effect of this form is that the narratives become far more personal making the messages of the novels more poignant. For instance, when Duke and his lawyer ask where to find the Dream and are told to visit the old psychiatrists club but when they arrive they find that the building had burned down years ago. The fact that the physical manifestation of the Dream burned down years ago suggests that not only has the Eliot Heath-Griffiths

Dream and all the wonder and mysticism that came with it has died a violent death; people still retain unwarranted faith in its existence many years after it has gone . The bathos of the discovery that the physical manifestation of the Dream had combusted is highly comparable to the bathos of the constellations and the lighthouse in To the Oracle at Delphi. By employing this bathetic tool Ferlinghetti and Thompson both illustrate how modern society, and particularly modern consumerism, has led to the decay of the aspirations and spirituality which were previously so fundamental. Atwood, in some instances in The Handmaids Tale, also seems to indicate that spirituality and wonder are precariously situated in modern society. We have seen that in Gilead despite maintaining the faade of a theocracy, there appears to be little true spirituality of any kind. For example, rather than being allowed to develop their own connection to God, the only time the household can hear the Bible is at the monthly ceremony when the Commander recites the prescribed passages. A further visualisation of this decay of spirituality would be the commercialisation and mass production of prayer through the use of prayer machines. These machines are a literary device influenced by Papal indulgences and similar to the novel writing machines seen in Orwells 1984. However, in contrast to Ferlinghetti and Thompson, Atwood certainly seems to illustrate that real hope and spirituality is never quite eroded. Offred for example recites her own version of the Lords Prayer without being directed to do so, which strongly suggests she still retains spiritual faith. A more prominent example of this hope and spirituality would be the fact that Offred never concedes that Luke is dead. For instance when she say he (Luke) was the loved one she quickly and angrily corrects herself by saying is, is only two letters, you stupid shit, cant you manage to remember it. Offred then never gives up her sacrosanct belief that Luke is alive. Atwood, therefore unlike Thompson and Ferlinghetti uses Offreds defiant faith to assert that even in a hopeless situation such as the Gileads dystopia, the hope and faith of the human spirit remains. The theme of capitalism and consumerism as a source of decay and erosion of society is in itself a significant aspect of all three of the authors texts. It is fitting that Thompsons post mortem of the American Dream takes place in Las Vegas, a city which is the epitome of the lavish, hollow and vicious capitalism for which Thompson, Ferlinghetti and Atwood to some degree each criticise. Thompson goes to great lengths to vividly illustrate the sordid nature of the prevailing consumerist dynamic. Thompsons statement that in Las Vegas they kill the weak and deranged can be used as evidence for Thompsons view of capitalism as a parasitic dynamic which does not refrain from consuming people. Ferlinghetti also refers to the parasitic nature of consumerism in his poem IV with the quotation another body for the human mindto be charted, probed and bloodlet for gold. Thompson makes constant references to the parasitic creatures in his hallucinations alongside the constant references to parasitic consumerism. This would suggest that in Las Vegas everything has become an aspect of the insatiable appetite of capitalism. This is evident in the quotation no flowers in this town. Only carnivorous plants, which asserts that even something as natural as plants and flowers, has been corrupted by capitalisms odious demeanour. Evidence in The Handmaids Tale implies that Atwood also is concerned about the effects of capitalism upon society. For example in the society of Gilead, women are reduced to the level of commodities. This is demonstrated by Serena Joy who pronounces to Offred upon her arrival to the house as far as Im concerned this is a business transaction. Although not parasitic, this quotation shows that in The Handmaids Tale capitalism is similar to the kind evident in Fear and Loathing and IV in that this rampant capitalism has even managed to encompass living beings. A contemporary example of the infectious capitalism evident in the three texts could be the shocking nationwide riots which have often been attributed to rampant

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consumerism, and so arguably represent huge social decay. Each of the authors in their texts attributes at least some of the decay to the successes or failures of contemporary movements. Ferlinghetti, in many ways seems critical to his fellow poets for not doing enough to stunt the growth of corporate monoculture. Ferlinghetti, in his poem Populist Manifesto No 1, makes a play on the opening to Allen Ginsbergs Howl by saying we have seen the best minds of our generation destroyed by boredom at poetry readings and then proceeds to list various types of poets and calls upon the not to wait for the revolution or itll happen without you. The reference to Howl is particularly significant since Ferlinghetti was the first to publish Howl and subsequently defended it in the obscenity trial. Perhaps through this reference Ferlinghetti is asserting that the freedoms which the beat poets fought so much for are not used to their full extent. Similarly the effect of the menial list is that it adds to the sense of individual insignificance of each of the grouped poets. Each is insignificant singularly, yet if combined then they are far too large to ignore; unfortunately the argument outlined in Populist Manifesto No. 1 suggests that this has not yet happened. The failure of the poetry movement to be significant is highly comparable to the wave speech in Fear and Loathing. Thompson uses the metaphor of a wave to illustrate the failed zeitgeist of the love generation in 60s America. He ends the speech with the remarks you can go up to a steep hill in Las Vegas and with the right kind of eye you can almost see that place where the wave finally broke and rolled back. Thompsons criticisms of the epoch are expertly summated by the original review by Crawford Woods in the New York Times in 1972. Woods describes how the things the book mocks--hippies, Leary, Lennon, journalism, drugs themselves--are calculated to throw Thompson to the wolves of his own subculture2. Thompson through his novel explores the hopes, the causes and ultimately the failings, of an entire epoch. Within this exploration he does not refrain from criticising what could simplistically be asserted are his own people. Therefore both Thompson and Ferlinghetti are critical of movements they are affiliated with such of the love and beat generations which arguably failed and so allowed for the decay of governance and culture. Atwoods dystopia on the other hand is not based on the failure of the movement; rather the success of extreme Christian Conservatism. Dystopias are often used as a tool by an author to explore the potential outcomes if perceived social problems are taken to their logical conclusion. The 80s were particularly relevant to Atwoods dystopia as it saw a revival in Western conservative movements leading to the election of figures such as Reagan and Thatcher, along with the rise to prominence of commentators such as Jerry Falwell. Atwood explained in an article that her science fiction works were a form of what she described as Ustopia3. An Ustopia would be a perfect imagined society and its opposite. In other words what would be ideal for some would be horrific for others. This description fits The Handmaids Tale perfectly when we consider that the dystopian republic of Gilead may in fact be utopian for commentators such as Falwell. The harsh oppression present in The Handmaids Tale therefore is Atwoods warning of the decay that could occur if the messages of extremists are allowed to consume society. Decay therefore, is an intrinsic theme for each of the authors. All three assert that there has been erosion or at least the potential for erosion in the system in the values of democracy and government in the Western world. The metamorphosis of democracy to a plutocracy or a theocracy and the immoral abuses of power which comes with these changes, indicate a horrendous decay of society at large. Much of this decay is directly or indirectly attributed to a form of virulent capitalism that has completely assimilated itself into our
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culture and our minds causing a rapid decay of the values which we used to hold. Despite this in many ways the texts still differ greatly in their intentions and messages. Atwood uses The Handmaids Tale as a warning to Western Societies of impending danger of decay which have not yet transpired. Thompson and Ferlinghetti in contrast seem more pessimistic, asserting that the decay has already come to fruition. Hence, why so much of their work is focused on analysing the symptoms of said decay. In the preface to Fear and Loathing Thompson cites a quotation by Samuel Johnson which says he, who makes a beast of himself, takes away the pain of being a man. This in many ways is the emulation of the bleak pessimism felt by Thompson about the decay of society. It explains the reprehensible and recalcitrant actions and statements made by Duke throughout the novel. Why would he be respectable and responsible whilst enduring a world fractured beyond repair? It may even help to explain Thompsons untimely suicide in 2005. Even Ferlinghetti has moments of optimism such as the poetic call to arms of Populist Manifesto No .1 which shows Ferlinghetti in contrast to Thompson believes that some decay may be reversed. The only true consistency then is that all three authors perceive unequivocally that erosion of governments, culture and people as a whole has and may prove highly detrimental so the society of the Western world. 3,454 words 336 quotes 3117 words

Bibliography -Hunter S Thompson, Fear and Loathing in Las Vegas, London, (1971) -Margret Atwood, The Handmaids Tale, London, (1986) -Lawrence Ferlinghetti, Americus, New York - Crawford Woods, Fear and Loathing in Las Vegas,
http://www.nytimes.com/1972/07/23/books/thompson-1972-vegar.html (1972)

-Margret Atwood, The Road to Ustopia,

http://www.guardian.co.uk/books/2011/oct/14/margaret-atwood-road-to-ustopia, (2011) - Barbara Kitt Seidman, The Handmaids Tale, http://www.docstoc.com/docs/20625842/Handmaids-Tale-The, (1986)

-Mathew Hahn, Writing on the Wall an Interview with Hunter S Thompson,

http://www.theatlantic.com/past/docs/unbound/graffiti/hunter.htm, (1997)

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