Lunar Park

Very few people (close friends included) knew anything about this, my secret son, and—except for Jay McInerney and my editor, Gary Fisketjon, both of whom Robby met when Jayne and I attended the wedding of a mutual friend in Nashville—no one I was acquainted with had ever seen him, including my mother and my sisters. At that wedding in Nashville, Jayne informed me that Robby had been asking where his father was, why his dad wasn’t living with them, why he never came to visit. Supposedly there were an increasing number of tearful outbursts and long silences; there was confusion and the demand of proof; there were anxieties, irrational fears, attachment disorders, tantrums at school. He wouldn’t let people touch him. Yet at the wedding in Nashville he had instinctively reached for my hand—I was still a stranger, his mother’s friend, nobody—to show me a lizard he thought he had seen behind a hedge outside the hotel where a large number of the wedding guests were staying. This was something I pretended didn’t bother me, and I tried to refrain from mentioning him at the thousands of cocktail parties I attended during the following years. But at that moment in the evening when someone brought out the cocaine (which had admittedly become nightly by that point), fragments of this hidden life would tumble teasingly from my mouth. Though when I noticed the saddened, shocked expressions of people who sensed the yearning behind the mask, I would quickly shut up and offer my new mantra—“I’m kidding, I’m just kidding”—and then I would reintroduce whatever new girl I was dating to people she had known for years. The girl would look up from a mirror piled high with cocaine and stare at me wonderingly, shudder and then lean back down, causing another line to disappear through a tightly rolled twenty-dollar bill. The wedding—after Robby took my hand for the first time—was the beginning. This was the moment when the son suddenly became real to the father. It was also the first year I spent close to $100,000 on drugs. Money that—what?—could have gone to Robby, I suppose. But Jayne was commanding $4 to $5 million per picture, and I was high all the time, so it stopped bothering me.

But a lot of people thought I was g*y so they would soon forget that Bret Easton Ellis had mentioned—raving, coked-up, sucking back another Stoli—that he had fathered a child. The g*y thing being the outcome of a drunken British interview I was doing to promote the BBC documentary about my life thus far at thirty-three, its title taken from American Psycho’s last line: This Is Not an Exit: The Bret Easton Ellis Story (the fame, the excess, the falloff, the dysfunction, the heartbreak, the DUI, the shoplifting incident, the arrest in Washington Square Park, the comeback, walking tiredly through a gym in slow motion while Radiohead’s “Creep” blasted over the soundtrack). Noting casually that I appeared “rather effete” in many of the clips, and instead of asking if I was on drugs, the reporter wondered if I was a homosexual. And I said, “Yeah, you bet I am—sure!” adding what I thought to be a jaunty and overtly sarcastic remark about coming out of the closet: “Thank God!” I shouted. “Someone has finally outed me!” I had told countless interviewers about sexually experimenting with men—and went into explicit detail about the collegiate threesomes I had at Camden in a Rolling Stone profile—but this time it struck a nerve. Paul Bogaards, my publicist at Knopf, actually called me a “potty-mouthed butt pirate” after reading the piece in the Independent, while relishing the storm of controversy this admission caused, not to mention the increased sales of my backlist. The creator of Patrick Bateman, author of American Psycho, the most misogynistic novel ever written, was actually—gasp!—a homosexual?!? And the g*y thing sort of stuck. After that interview appeared I was even named one of the Advocate’s 100 Most Interesting Gay People of the year, which drove my legitimately g*y friends nuts and prompted confused, tearful phone calls from Jayne. But I was just being “rambunctious.” I was just being a “prankster.” I was just being “Bret.” Over the years photos of me in a Jacuzzi at the Playboy Mansion (I was a regular when I was in L.A.) kept appearing in that magazine’s “Hanging with Hef” page, so there was “consternation” about my sexuality. The National Enquirer said I was dating Julianna Margulies or Christy Turlington or Marina Rust. They said I was dating Candace Bushnell, Rupert Everett, Donna Tartt, Sherry Stringfield. Supposedly I was dating George Michael. I was even dating both Diane Von Furstenberg and Barry Diller. I wasn’t straight, I wasn’t g*y, I wasn’t bi, I didn’t know what I was. But it was all my fault, and I enjoyed the fact that people were actually interested in who I was sleeping with. Did it matter? I was a mystery, an enigma, and that was what mattered—that’s what sold books, that’s what made me even more famous. Propaganda designated to enhance the already very chic image of author as handsome young playboy.