American Rhapsody (57 page)

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Authors: Joe Eszterhas

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BOOK: American Rhapsody
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II. Mid Term:
Far and Away

All of the rest of this depends on you, Harry. He cannot gain weight! Not one pound! He has to get as lean and wiry as Tom in Mission Impossible. No cigars, either! Not even unlighted ones! Ever!

  1. He is sighted like the resurrected Elvis by ordinary Americans who describe a tanned, soft-spoken man, his gray-white hair down to his shoulders on a motorcycle, his puppydog, Buddy, huddled against him. The motorcycle is an antique green Indian.
    He is seen at a diner outside Cheyenne, eating only vegetables . . . in the stands at a Little League game in Sonoma, California . . . at a county fair in Twin Falls, Idaho . . . at a log rolling contest in upstate Oregon. Tourists in Joshua Tree National Park hear the sweet sound of a lonely saxophone playing “Summertime” in the moonlight, follow the sound to a campfire, and find Bill Clinton and Buddy.
    He is friendly to the ordinary Americans he meets, even signs autographs, and tells them he's “rediscovering America and myself” and writing the book he's always wanted to write since college.
    He is seen in smalltown churches of various denominations and, one night in Bakersfield, he plays his sax with a bar band. A tourist at Yosemite takes a blurred picture of him with Chelsea and Buddy. He spends a couple days privately with Jesse Ventura and Billy Graham and shows up to help Jimmy Carter pound some nails at an old age home. He stops at Chris Reeve's house for a week and helps him with his nursing care, although we don't know about it until he's long gone.
    He's seen praying at JFK's grave and touching the names on the Vietnam Memorial. The press is going crazy trying to find him, but all they find is an occasional motel register impishly signed “T. Lott” or “N. Gingrich” or “R. Nixon.” Bill Clinton as the resurrected, elusive Elvis is the biggest story in the world.
  2. We hire impostors to show up on the bike with Buddy at various places and get him off the road. We take him to the L. Ron Hubbard Scientology Center on Florida's Gulf Coast. Scientologists like him anyway because of the tax-free status he granted them.
    We trim ten more pounds off of him and pump him up. We give him cosmetic surgery that accentuates his cheekbones and sculpts his jawline. We permanently tint his facial coloring so the world will never see that humiliated red face again. We teach him to speak fluent Spanish. We get rid of his Southern drawl and replace it with a Western twang. We get him surgery to lower his voice. We sit him down with Deepak Chopra and Rain Man Oscar winner Ron Bass and they start writing his book.
    We convince him to become a secret, card-carrying Scientologist. He doesn't need the charisma lessons Tom found so useful, but he sorely needs the psychosexual balancing and alignment so many stars are such fans of. He undergoes the balancing and alignment with painful effort. We are not convinced Bill Clinton will ever be celibate, ever maintain the purity of his instrument, but we are relatively certain he won't go flashing that damn thing around.
  3. Out on the road, more Americans report sightings of him, but with a twist now. He stars in random acts of heroism. A woman whose car has broken down on the freeway, about to give birth . . . here he comes on his Indian with Buddy. He delivers the baby. A drunken man in a bar with a gun . . . he talks the man into giving it to him. A fire in an apartment complex . . . he rushes in and saves a toddler hiding in a closet clutching Tinky Winky. (Think of all those heroic stories we planted about Tom saving lives in the month before
    Mission Impossible
    was released.) The press is salivating now. Bill Clinton as Elvis as the heroic Christopher Reeve as Superman holding Tinky Winky in his arms.
  4. Monica Lewinsky receives a handwritten, heartfelt two-page letter of apology, which is leaked to the press. We get Robert James Waller—
    The Bridges Of Madison County
    —to write it, with a rewrite by Rod McKuen and a polish by Jewel.
  5. Chelsea goes to medical school and will study epidemiology. She tells Oprah she will spend her life fighting plague-like diseases in Third World countries.
  6. A year has gone by now. He is as big as Elvis, bigger than Christopher Reeve, almost as big as Tom and Tinky Winky. Now we're ready for the galaxy.

III. Long Term:
Mission Impossible

  1. The press will do anything, agree to anything, to get an interview with him. Her editors force Maureen Dowd to agree to let us edit her precious prose! Sam Donaldson will agree to not even be seen on camera during the interview! Jann Wenner will agree to do a later cover of Dodi Fayed if he gets the Bill Clinton exclusive! Sir David Frost will agree to an hour with Sharon Stone if he gets it!
    But no, not yet. We let Maureen and Jann and Sam and Sir David and the others grovel and grub.
  2. We publish his book first—
    Travels With Buddy
    —by Bill Clinton. The world is stunned when it sees the man on the cover. Thin, tanned, cheekbones popping, intense, eyes a piercing blue, hair full, longish, and snow white. Is that really Bill Clinton? Wow! The book itself is poetry—a love story between a man and the country he loves. (A Steinbeck scholar at Stanford did a polish after Leo Buscaglia rewrote Deepak and Bass at the last minute.)
    The book isn't about politics. It is about the people he met and the places he saw on his Indian with Buddy.
  3. Now we're ready for the press, whose representatives are literally prostituting themselves to have access to Bill Clinton as Elvis as Christopher Reeve as Superman holding Tinky Winky. Barbara gets the first interview—a campsite somewhere out West. Coyotes howl, fireflies glitter, cacti rustle or do whatever else cacti do. He talks to her over a campfire in the moonlight, Buddy at his feet, the fire crackling. He's wearing denim—(we don't want to overdo the jeans thing because of Carter and Carville and Jesse Ventura, but maybe Tom Ford at Gucci can come up with a variation).
    He will devote himself to helping the poor, Bill Clinton tells Barbara. Not just here but in Mexico and around the world.
    Then we allow Maureen and Sam and some of the others to speak with him—after they've signed their consent agreements. No questions about cigars, blowjobs, masturbation, Lewinsky, Gennifer Flowers, Willey, Broaddrick, Hillary, Eleanor, etc., etc. No questions about the past. Life begins with Buddy on the Indian.
    I edit their copy, I see their tapes. Jann puts Dodi on the cover of
    Rolling Stone
    . Sir David gives Sharon a full hour. Andy Rooney interviews Buddy. Bill Moyers does a PBS Special about the Indian motorcycle as the modern-day Pegasus.
    Since we grant Bill Clinton exclusives in most nations of the world, Dodi Fayed appears on covers almost everywhere in the world as part of the deal. Dodi action figures appear in toy stores and Tom announces he is developing a project with Oliver Stone about Dodi as a CIA operative.
  4. The world is in love with Bill Clinton, this tanned, rangy, athletic figure with the Western twang. The red-faced Bill Clinton with the whine in his voice is but a faint repressed memory. The parsings and Grand Jury appearance have been purged from the sociocultural record. Bill as Elvis as Christopher Reeve as Superman holding Tinky Winky . . . speaks softly, with a deep voice, in simple, unparsed, red-blooded sentences. (We don't want a change as extreme as Madonna's British accent.)
    A goodness emanates from him. A spirituality. Love. Compassion. Acceptance. Understanding. Forgiveness. Maturity. Wisdom. Harmony. Clarity. Peace. He has been Rumi-ed, Yanni-ed, and John Tesh-ed. He is The Serenity Prayer, John Denver singing “Annie's Song,” The Three Tenors doing “Ommmmmmm.”
  5. He announces the formation of LTN—Love Thy Neighbor—a private, international volunteer effort to help the poor. Donations and volunteers overwhelm him. He picks out target cities, many of them Spanish speaking, and goes into these cities with thousands of young, committed, idealistic volunteers.
    Now he is Bill Clinton as Elvis as Christopher Reeve as Superman holding Tinky Winky as Bobby Kennedy and Martin Luther King. We control all access to him. No interviews without our usual, by now universally-accepted (except for the rabid Maureen Dowd) conditions.
  6. He marries a young, beautiful, intelligent Hispanic woman Scientology has picked out for him. She has Nicole's class and Kelly's perkiness. They appear together, with Buddy, on Barbara, mixing fluent Spanish with matching Western twangs. She charms America. It is evident they are very much in love. (Think Tom and Nicole, John and Kelly, Warren and Annette, and, of course, Dodi and Di.)
  7. He targets Mexico City for a month-long program. Twenty thousand volunteers follow him there. Then Ho Chi Minh City—“My own private war”—he says. Then Bombay and Moscow.
    He wins the Nobel Peace Prize.
    There is a massive “Clinton For President” movement in 2004. He denies all interest in running for president. We continue controlling all access to him. I edit all the stories. I preview all the tapes.
  8. He and his wife have two beautiful babies. LTN continues its anti-poverty crusade around the world. Chelsea is often at his side now, with Buddy, his Hispanic wife, and the two little brown ones.
    As the election of 2008 approaches, a draft Clinton For President avalanche has begun. The Hispanic vote is the majority now in many parts of America and it's all his. Hopefully, the economy is screwed up. George W.'s continuous out-of-the-closet boozing has made him a national joke. Bill Clinton is a shoe-in for the presidency. He's only sixty-one.
  9. But he is caught cheating on his wife with a twenty-nine-year-old implanted waitress who once spent a night with Axl Rose. His brother-in-law gives him a black eye. His Hispanic wife sues him for divorce.
    Chelsea drops out of medical school and becomes a Hollywood starlet. Buddy is hit by a car. Scientology disavows him. The press won't sign my consent agreements. He gets fat. His facial tint turns bright red. I fire him.
    Gone are his wife, his kids, Elvis, Christopher Reeve, Superman, Tinky Winky, Bobby Kennedy, Martin Luther King, Chelsea, Deepak, L. Ron Hubbard, Buddy, and the Indian motorcycle. Bill Clinton is back as Bill Clinton, his instrument impure.
    The Democratic nominee for President in 2008 is the senator from New York, Hillary Rodham, her face a plastic surgeon's blurry vision of a younger Sharon Stone.

Oh, Harry, Harry, Harry! I'm sorry. I don't want to represent Bill Clinton. He'll never be Tom Cruise. When he lost the Oscar for
Magnolia
, Tom went to a party, made an L on his forehead, and said, “I'm a loser. Where's the bar?”

Tom Cruise isn't a loser. But Bill Clinton is. He's history with the Andrew Johnson asterisk, the blockbuster that tanked and almost brought down the studio.

Oh, Harry, poor Harry, you've been so loyal to him. You did your best. Forget him, Harry! Where's the bar?

Thank you to:

Ed Victor

Sonny Mehta

Michael Viner

Peter Gethers

Paul Bogaards

Tina Brown

Acclaim for Joe Eszterhas's

American Rhapsody

“The best book I have read in ten years, maybe even longer . . . America has been lucky in that each decade has produced a writer who has been able to put his finger on the nation's pulse. This time it is Joe Eszterhas.”

—
BookPage

“I love this book and I'm not afraid to brag about it. I haven't read anything like this since the early Mailer or Tom Wolfe.”

—Chris Matthews,
Hardball

“The dust jacket compares Eszterhas to Mailer and Wolfe. It shouldn't. The book stands on its own and is about the best and most compelling account of modern U.S. politics I've read.”

—Anne Robinson,
The Times
(London)

“The best book I read all summer . . . a satiric commentary . . . an extremely cogent political explanation why attempts to drive Clinton from office failed.”

—
Milwaukee Journal Sentinel

“A loud belch . . . . Eszterhas knows how to write. His prose sizzles and spits across these hot pages . . . . Outrageously funny . . . it's as if every drop of bile and brain fluid sloshing through Eszterhas has dripped into this book—a manic, mouthy, self-indulgent, impossible to ignore lament for America.”

—
Publishers Weekly

“It is the only interesting thing that's been written about politics in years.”

—Michael Wolff,
New York

“A ribald/poetic narrative of the Clinton years.”

—William F. Buckley, Jr., United Press Syndicate


American Rhapsody
is Eszterhas's commentary on our country's rich cultural life. And, like any cultural commentary, it lovingly describes the sagging scrotum skin of one Lyndon B. Johnson.” —Comedy Central

“A comic masterpiece.” —Lewis Grossberger,
Mediaweek

“Unapologetic raunchiness . . . audacious . . . bitchily fun . . . .
Rhapsody
does merit an adjective few have attached to Eszterhas's projects: moral.”

—
Time

“At once fascinating, shocking, repellent . . . the Starr Report on acid.”

—
People

“The
Showgirls
of political journalism . . . you simply cannot turn away . . . undeniably readable.”

—
Entertainment Weekly

“Mondo Bizarro . . . fun, gonzo invective . . . . Eszterhas does a good job of demolishing exculpatory psychiatric cant.”

—
Newsweek

“Wild, gossipy, oddly autobiographical and thoroughly entertaining . . . . Mr. Eszterhas tries ultimately to present a moral sermon.”

—Clarence Page,
Chicago Tribune

“A pyrotechnic read . . . it does for Monicagate what Madonna did for voguing . . . . Angry, heartfelt and mostly hilarious . . . . Miraculously veers from any hint of cynicism.”

—
Vibe

“A fervid, florid, right-on, right-off, crystal clear, hopelessly muddied, brilliantly offensive, down to the bone, truthful melange of fact, fiction, and Eszterhas perceptions . . . . Corrosively scathing . . . . Compulsively readable . . . . Eszterhas is a kind of modern American Dante . . . . He has written America's history as it (mostly) happened. A lot of people will hate him for it.”

—Liz Smith,
New York Daily News

“A gleeful act of outrage . . . . Evel Knievel-like leaps of free association and mad brio . . . . A heady mix of showbiz gossip, personal essay, and Lester Bangs–style prose mania.”

—Amazon.com

“A sarcastic screed . . . inflated with macho posturing and defused by gleeful self contempt . . . a funny, fulsome, fickle writer . . . a jazzy primeval riff . . . even-handed, spewing aspersions on Republicans and Democrats alike.”

—
Insight

“Perceptive observation and leering voyeurism . . . preaches and rants . . . entertaining, profane, scatological . . . hysterical, rarely boring.”

—CNN.com

“A racy sort of pulp fiction . . . . Lenny Bruce more than Hunter Thompson . . . . Eszterhas is a Walter Winchell wannabe, a pre-Drudge-dot-dot-commie, as if leaked on at the Stork Club by that matched pair of sinister bookends, J. Edgar Hoover and Lucky Luciano, after which, fingering a snub-nosed .38 and surfing the police bands, he trolls the pre-dawn streets.”

—John Leonard,
The Nation

“It's so brilliant, so rude, so crude, so sexy, so revealing, so exciting that I can't understand how this guy created the idea and then dared deliver it.”

—Cindy Adams,
New York Post

“A farcical waist-level panorama of the Clinton years . . . the offspring of the mating of
The Joy of Sex
and
Portnoy's Complaint
 . . . . Side-splitting and frequently poignant.”

—
Library Journal

“An unapologetic cry of rage . . . an attempt to put the event into some sort of cultural context. Eszterhas obviously has done his homework and more. He has managed to connect some dots, filling in details that could explain things that even to the most forgiving voyeurs remain inexplicable.”

—
Houston Chronicle

“Imagine if Edmund Morris, Tom Wolfe and Jackie Collins had a threesome in a cheap motel . . . history as it was meant to be—right from the gutter, with mock pinwheels spinning in your eyes and poison in your soul.”

—
Detroit Metro Times

“Excitedly profane . . . a sharp ear for dialogue . . . something about this presidential scandal has rekindled the counter-cultural energy in Mr. Eszterhas . . . . The author's fierce longing for a lost sixties idealism comes through . . . mercifully free of cynicism.”

—
The New York Times


Dutch
crossed with the Starr Report crossed with
The Executioner's Song
 . . . but Mr. Eszterhas is no mere gossip—he is also a political pundit, capable of speculating, dazzlingly, on the extent to which greater honesty from the President could have liberated a nation of guilty closet masturbators.”

—
The New York Observer

“Quite a read . . . a huge rollicking book that has something to say . . . vast, nonsensical fun, yet also telling. In the tradition of demented American journalism that finds a voice between hardcovers, it ranks.”

—
New York Daily News

“A ticket to Babylon . . . a veritable
Reader's Digest
of Clinton ribaldry . . . . Eszterhas genuinely seems to care for Hillary Clinton.”

—
San Francisco Chronicle

“It's nice to see Eszterhas hasn't lost his journalistic fastball . . . . He's Ted Koppel crossed with Ted Nugent . . . hilarious . . . profane.”

—
The Boston Sunday Globe

“More than a
Hollywood Babylon
–style tell-all, this is a big, messy, ambitious book . . . . Eszterhas's muscular, straightforward prose is engaging, his fictional inventions often hilarious, and beneath the book's never-ending supply of seamy trashy exploits lies an undercurrent of great melancholy.”

—
The Miami Herald

“An entertaining but thoroughly salacious read . . . likely to rile a lot of important people and their fans . . . . The book provides equal opportunities to rile readers of every political persuasion.”

—
Austin American-Statesman

“Tantalizing, like a sordid movie script that unexpectedly ends with a moral.”

—
The Commercial Appeal

“Eszterhas is not a Clinton hater; he is a hypocrisy hater, and he digs up dozens of dead bodies, from FDR to Fatty Arbuckle, to make his point that debauchery pretty well comes with power.”

—Knight-Ridder Newspapers

“A monument to modern rock ‘n' roll pop culture in all its grease and glory . . . a salacious, gleeful romp . . . nothing short of hilarious . . . like a jacked-up muscle car, it never slows down.”

—
The Buffalo News

“What sort of animal makes music like this? . . . Pat Robertson on acid . . . an exploration of the underbelly of our national sexual psychosis.”

—
Los Angeles Times

“To say the book is about President Bill Clinton and White House politics is like saying strip joints are about dance.”

—
Lexington Herald-Leader

“It makes the Starr Report seem like a McGuffey Reader for the second grade.”

—
Flint Journal

“Read this at your own risk!”

—
Arizona Republic


American Rhapsody
will entertain you . . . an engrossing and hilarious read . . . . Eszterhas knows the pacing of rock and roll and uses it to set the book up for his climax . . . it should crack you up and scare the shit out of you.”

—
Buffalo Beat

“A long, slow pull on a gossipy blunt, a full-bore hog ramble from D.C. to Dreamland, a fact and fiction timetrip down Highway 61, an acid-drenched rumination by a footsoldier of the Leary decade.”

—
Cleveland Free Times

“Guilty pleasure is the very best kind. It's been many years since reading a book made me so thrillingly ashamed.”

—Diane White,
The Boston Globe

“One can think of no more appropriate chronicler of the squalor of the Clinton White House than a writer made famous by the money shot of Sharon Stone crossing her legs in
Basic Instinct
.”

—Lucianne Goldberg,
The National Review

“I wouldn't blame Sharon Stone for putting a contract out on him.”

—
Toronto Globe and Mail

“I think it's hilarious. I knew Joe was funny, but I didn't think he could write comedy.”

—Sharon Stone

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