Duke’s Vegas belonging marks postmodernity while his horror stays modernist.

Evidence

There is a sense in which Duke’s identification with Las Vegas, rather than his fear and loathing, is the book’s postmodern conceit, while Thompson’s underlying horror at the place is the book’s deep modernist truth. — Marianne DeKoven, Utopia Limited, 370

Categorization

• XREF: connects to: Sixties counterculture found itself at home in Vegas because postmodernity emerged seamlessly from it — Marianne DeKoven, Utopia Limited: The Sixties and the…, 355; Postmodern madness is involuntary, unlike the modernist chosen seer-trip — Marianne DeKoven, Utopia Limited: The Sixties and the…, 272; Wolfe saw Vegas as corruption of modernism, not its repudiation — Marianne DeKoven, Utopia Limited: The Sixties and the…, 294