Point to Point Navigation

NINE

No sooner do I vow to put death, at least temporarily, on that proverbial back burner than I learn that my coeval, television’s Johnny Carson, has died at seventy-nine of emphysema. I was a few weeks older than he. He had rung me last month to say that he had been living pretty much in seclusion at the beach and had only just heard that Howard was dead. We reminisced about his visit to us in Rome and Ravello, a first (and I suspect last) visit to Italy for him. He was not one for foreign climes other than Wimbledon and tennis. In Italy he was a dutiful sightseer but as we climbed Palatine Hill, “Everything here is steps,” he sighed, “and broken marble. This place is going to sink under their weight one of these days.”

What would Montaigne have thought of him? Had he been a mere entertainer-interviewer, nothing at all. But since Montaigne was deeply interested in politics, Carson would have interested him very much. John was the only political satirist regularly allowed for thirty years on that television time which is known to be prime and so he was able to influence the way the people at large thought about many things that were often unexamined in the media until he put his satiric spin to them. Montaigne wrote to influence the kings of France and Navarre and so was heeded in a way that the performer Carson was also able to influence, in a much smaller way, American politicians. He once told me that he could predict the winner of any approaching presidential election by the reactions to certain jokes he’d tell to the live audiences at his Burbank studio. He’d make amiable fun—at least it seemed amiable—of the entire field but all the time that sharp ear was listening carefully to the laughter and, even more attentively, to the silences. He read this microcosm of the American people like a barometer.

What was he really like? Well, he was better looking than he looked. Clowning distorts regular features and his were most regular. The eyes were sharp but the most powerful of his senses was that of hearing, detecting false notes and the lessening of an audience’s attention during a joke. The monologue that opened each evening’s Tonight Show was carefully written out on long rolls of paper that were unfurled as the monologue got read, and the roll of abandoned script would then float from the stage down into the audience where, like Chinese paper dragons, one could read what he had often abruptly cut on air. The face in repose was as composed as that of Buster Keaton if not as comically frozen. One night in Ravello, after his wife Joanna had gone up to bed, we sat on the balcony overlooking the Gulf of Salerno and talked politics and comedy and got quietly drunk.

“You know,” he said, “people keep thinking I am this kindly little old Irishman when I’m not little, not kindly, and not Irish but English.” Finally it was that ear, sharp to nuance, which directed his performance. We all have multiple responses to what people say particularly if one is on air and must respond quickly. And so, the appearance of amiability is the wisest defense if what you say might break the spell you are spinning. Hence: mock amazement if sex is in the air or wide-eyed bewilderment at a dangerous turn in a political observation. One night before I came out onstage the producer Freddie De Cordova caught me halfway through the curtain: “No mention of abortion; we’re having trouble this week!” I said, “All right” and stepped into the spotlight upstage center, then turned right to walk to John’s desk where he was unexpectedly beaming. This was unusual. I tried to read his look as I sat in the chair to his right, a swivel chair that tended to slip out from under you in order to face the adjacent couch where other guests might be. “So, Gore, what do you think of this right to life movement?” With that, he shoved me into the water, as it were. Offstage, De Cordova looked grim. I started to improvise.

Unlike most talk-show hosts John liked for his guests to be entertaining and so give him a respite from talking as opposed to reacting. Once, in a break, I told him I’d thought of a funny line about someone but I was afraid it might be too sharp. He drummed on his desk with a long pencil and frowned: “If you ever have the slightest doubt about a line don’t say it.” The best advice. In front of him just above the camera was a huge clock which, as the minutes passed and guests turned boring, he tended to stare at, waiting to be released from his role. One performance, when he wasn’t looking, a member of the crew pushed back the hands of the clock fifteen minutes. Carson’s momentary look of despair when he saw the clock got a laugh even though the audience had no idea why.

I first came to his program when he was in a studio on the sixth floor, I think it was, of the NBC building at Rockefeller Center. He had inherited me from his predecessor, Jack Paar, a popular but somewhat eccentric host of The Tonight Show.

John Carson and I warming up on The Tonight Show.

As we sat drinking on the balcony in the moonlight, we recalled Paar’s tantrums and how he had once, in a rage, walked off his own show. Also, how he had asked me if I’d like to be his summer replacement. I had said no. Paar was amazed, but then so was De Cordova who asked me half a dozen times over twenty or thirty years if I’d like to sit in for Carson when he was performing at Las Vegas. “After all,” said De Cordova, “when you’re in that chair, you’re the king.” “No,” I said. “I may be in the chair but everyone knows that the king is elsewhere. No thanks.” John wanted to know the “real” reason. I said that I had noticed that almost every TV host had written a book that no one wanted to read because they felt that they already knew the author far too well from television to want to know more. So, as a writer for life, I didn’t want to lose readers.

It is now time for me to explain what a writer for life—a novelist—was doing on television even though, as of 1962, I had had two successful plays on Broadway and was writing films, but not novels.