Gonzo ere long done do does did

Critics tend to be charmed and even corrupted by reflexive reporters, because these reporters take such an explicit interest in the rhetorical functions of their own work (or so I have been arguing). Basically, these reporters seem to care about rhetoric, and their celebration of individual rhetorical agency (especially their own) can be contagious.

Obviously, however, some critics are harder to charm than others, and when it comes to being charmed by Hunter Thompson, my aforementioned colleague can be counted among the tougher cookies and so can Wayne C. Booth who once made the following estimate of Thompson's persuasive powers as a political reporter:

The only reason Thompson gives us to believe what he says is what we professors of rhetoric call his ethos; he works very hard to establish his character as the main proof of what he has to say. But shit, man, his ethos ain't no fucking good [...] I will believe nothing Thompson tells me, unless I have corroboration.

Now this isn't any old rhetorical critic making a mindless critique (and a pathetic parody) of Hunter S. Thompson (and neither is my colleague). This is Booth, quite a connoisseur of ethical appeals - and of irony - who is reviewing Fear and Loathing on the Campaign Trail '72 for the Columbia Journalism Review back in 1973. I'll leave his words seething like this for now and return with a comment when I get hold of a copy of the article and I'm able to read his argument in full.

*

I know it's not a competition, but Wayne's on your side! and I can't help humming The Smiths' Cemetery Gates and wondering who's on mine.

You say: "ere long done do does did" / words which could only be your own / you then produce the text / from whence was ripped / (some dizzy whore, 1804) / A dreaded sunny day / so let's go where we're happy / and I meet you at the cemetery gates / Keats and Yeats are on your side / a dreaded sunny day / so let's go where we're wanted / and I meet you at the cemetery gates / Keats and Yeats are on your side / but you lose / because Wilde is on mine.