Lunar Park

The Brat Pack was essentially a media-made package: all fake flash and punk and menace. It consisted of a small, trendy group of successful writers and editors, all under thirty, who simply hung out together at night, either at Nell’s or Tunnel or MK or Au Bar, and the New York as well as the national and international press became entranced. (Why? Well, according to Le Monde, “American fiction had never been this young and sexy.”) An updating of the movie-star Rat Pack from the late 1950s, it consisted of me (Frank Sinatra), the editor who discovered me (Morgan Entrekin in the Dean Martin role), the editor who discovered Jay (Gary Fisketjon/Peter Lawford), hepcat Random House editor Erroll McDonald (Sammy Davis Jr.) and McInerney (the group’s Jerry Lewis). We even had our own Shirley MacLaine in the guise of Tama Janowitz, who had written a collection of short stories about cute, drug-addled hipsters trapped in Manhattan that stayed on the New York Times best seller list for what seemed like months. And we were in hyperdrive. Every door swung wide open. Everyone approached us with outstretched hands and flashing smiles. We did layouts in fashion magazines, the six of us lounging on couches in hip restaurants, wearing Armani suits and in suggestive poses. Rock stars who were admirers invited us backstage: Bono, Michael Stipe, Def Leppard, members of the E Street Band. It was always the A booth. It was always the front seat of the roller coaster. It was never “Let’s not get the bottle of Cristal.” It was never “Let’s not have dinner at Le Bernardin,” where our antics included food fights, hurling lobsters and hosing one another down with bottles of Dom Perignon until the unamused staff would ask us to vacate the premises. Since our editors were taking us out all the time on their limitless expense accounts, the publishing houses were actually paying for this debauchery. It was the beginning of a time when it was almost as if the novel itself didn’t matter anymore—publishing a shiny booklike object was simply an excuse for parties and glamour and good-looking authors reading finely honed minimalism to students who would listen rapt with slack-jawed admiration, thinking, I could do that, I could be them. But of course if you weren’t photogenic enough, the sad truth was you couldn’t. And if you were not a supporter of the Brat Pack, you simply had to accept us anyway. We were everywhere. There was no escaping our visages staring out at you from the pages of magazines and TV talk shows and scotch ads and posters on the sides of buses, in the tabloid gossip columns, our blank expressions caught in the dead glare of the camera flash, a hand holding the cigarette a fan was lighting. We had invaded the world.



And I was on display. Everything I did was written about. The paparazzi followed me constantly. A spilled drink in Nell’s suggested drunkenness in a Page Six item in the New York Post. Dining at Canal Bar with Judd Nelson and Robert Downey Jr., who costarred in the movie adaptation of Less Than Zero, suggested “bad behavior” (true, but still). An innocuous script meeting with Ally Sheedy over lunch at Palio was construed as a sexual relationship. But I had put myself out there—I hadn’t hidden—so what did I expect? I was doing Ray-Ban ads at twenty-two. I was posing for the covers of English magazines on a tennis court, on a throne, on the deck of my condo in a purple robe. I threw lavish catered parties—sometimes complete with strippers—in my condo on a whim (“Because It’s Thursday!” one invitation read). I crashed a borrowed Ferrari in Southampton and its owner just smiled (for some reason I was naked). I attended three fairly exclusive orgies. I did guest spots as myself on Family Ties and The Facts of Life and Melrose Place and Beverly Hills 90210 and Central Park West. I dined at the White House in the summer of 1986, the guest of Jeb and George W. Bush, both of whom were fans. My life was an unfolding parade made all the more magical by the constant materialization of cocaine, and if you wanted to hang out with me you had to carry at least an eight ball. And soon I became very adept at giving off the impression that I was listening to you when in fact I was dreaming about myself: my career, all the money I had made, the way my fame had blossomed and defined me, how recklessly the world allowed me to behave. Whenever I revisited L.A. over the Christmas holidays I usually chalked up four or five moving violations in the cream-colored 450 SL my father had handed down to me, but I lived in a place where the cops could be bought off, a place where you could drive at night without headlights, a place where you could snort coke while getting blown by the B-list actress, a place that allowed the three-day smack binge with the upcoming supermodel in the four-star hotel. It was a world that was quickly becoming a place with no boundaries. It was Dilaudid at noon. It was not talking to anyone in my immediate family for five months.