The true Trump from the journalist who knows him best.
By Brad Hamilton
Journalist Tony Schwartz helped create the Donald Trump legend when he co-authored The Art of the Deal. But last year, in an interview with Jane Mayer published in the New Yorker on July 25, Schwartz said he regretted doing the book, which, he said, did not reflect the real Trump. “I put lipstick on a pig,” he said. “I feel a deep sense of remorse that I contributed to presenting Trump in a way that brought him wider attention and made him more appealing than he is.” He went on, “I genuinely believe that if Trump wins and gets the nuclear codes there is an excellent possibility it will lead to the end of civilization.”
The following is an excerpt from that New Yorker piece, based Schwartz’s recollections of having spent 18 months with Trump in 1985 as he gathered material for The Art of the Deal.
Schwartz made plans to spend the weekend with Trump at Mar-a-Lago, his mansion in Palm Beach, where there would be fewer distractions. As they chatted in the garden, Ivana icily walked by, clearly annoyed that Schwartz was competing for her husband’s limited free time. Trump again grew impatient… and “essentially threw a fit.” He stood up and announced that he couldn’t stand any more questions.
Schwartz went to his room, called his literary agent, Kathy Robbins, and told her that he couldn’t do the book. As Schwartz headed back to New York, though, he came up with another plan. He would propose eavesdropping on Trump’s life by following him around on the job and, more important, by listening in on his office phone calls. That way, extracting extended reflections from Trump would not be required. When Schwartz presented the idea to Trump, he loved it. Almost every day from then on, Schwartz sat about eight feet away from him in the Trump Tower office, listening on an extension of Trump’s phone line. Schwartz says that none of the bankers, lawyers, brokers, and reporters who called Trump realized that they were being monitored. The calls usually didn’t last long, and Trump’s assistant facilitated the conversation-hopping. While he was talking with someone, she often came in with a Post-it note informing him of the next caller on hold.
“He was playing people,” Schwartz recalls. On the phone with business associates, Trump would flatter, bully, and occasionally get mad, but always in a calculated way. Before the discussion ended, Trump would “share the news of his latest success,” Schwartz says. Instead of saying goodbye at the end of a call, Trump customarily signed off with “You’re the greatest!” There was not a single call that Trump deemed too private for Schwartz to hear. “He loved the attention,” Schwartz recalls. “If he could have had three hundred thousand people listening in, he would have been even happier.”
This year, Schwartz has heard some argue that there must be a more thoughtful and nuanced version of Donald Trump that he is keeping in reserve for after the campaign. “There isn’t,” Schwartz insists. “There is no private Trump.” This is not a matter of hindsight. While working on The Art of the Deal, Schwartz kept a journal in which he expressed his amazement at Trump’s personality, writing that Trump seemed driven entirely by a need for public attention. “All he is is ‘stomp, stomp, stomp’—recognition from outside, bigger, more, a whole series of things that go nowhere in particular,” he observed, on October 21, 1986. But, as he noted in the journal a few days later, “the book will be far more successful if Trump is a sympathetic character—even weirdly sympathetic—than if he is just hateful or, worse yet, a one-dimensional blowhard.”