Random House Lives of The Presidents

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Two popular Republican presidents are explored in this pair of biographies. In the first, it's no surprise that the biographer of Douglas MacArthur and Ulysses S. Grant clearly conveys the military talents that enabled Dwight D. Eisenhower to ensure the Allies' victory in World War II. But Geoffrey Perret is equally perceptive when dealing with the personality behind the famously genial grin. Perhaps marked by his father's coldness and grim religious zeal , Eisenhower never expressed his feelings easily, even to his cherished wife, Mamie. His intelligence and scholarly gifts got the poor boy from Kansas into West Point; his administrative and training abilities made him too valuable at home to be employed for active duty in World War I, much to his chagrin. Professional fulfillment and fame as the general who won WWII couldn't change the self-controlled habits of a military lifetime, and Perret depicts Eisenhower as reluctantly drawn into politics by a sense of duty. Covering his presidency, Perret doesn't let him off the hook about such touchy matters as U.S. involvement in the 1954 overthrow of Guatemala's elected government or the biased hearing that lifted physicist J. Robert Oppenheimer's security clearance. But the author obviously likes Ike, and he helps his readers understand why most Americans in the 1940s and '50s did too. When it comes to the newest Ronald Reagan biography, readers might wonder why Pulitzer-winning Theodore Roosevelt biographer Edmund Morris controversially chose to write his authorized biography of Ronald Reagan in the form of a historical novel. There's a clue in a quote that the book attributes to Jane Wyman, Reagan's first wife. As Ronnie speechified about the Red Menace at a 1940s Hollywood party, Wyman allegedly whispered to a friend, "I'm so bored with him, I'll either kill him or kill myself." This anecdote, if true, is more revealing than Nancy Reagan's charge in the book that Jane had attempted suicide to get Ronnie to marry her in the first place. Jane was no intellectual--Morris cracks that "If Jane had ever heard of Finland, she probably thought it was an aquarium"--but he found to his horror, after years of research, that he felt much the same as Wyman. Reagan was as boring as a box of rocks, as elusive as a ghost. Decades before Alzheimer's clouded Reagan's mind, he showed a terrifying lack of human presence. "I was real proud when Dad came to my high school commencement," reports his son, Michael Reagan. After posing for photos with Michael and his classmates, the future president came up to him, looked right in his eyes, and said, "Hi, my name's Ronald Reagan. What's yours?" Poor Michael replied, "Dad, it's me. Your son. Mike." Despite deep research and unprecedented access--no previous biography has ever been authorized by a sitting president--Morris could get no closer to Reagan's elusive soul than Reagan's own kids could. So Morris decided to dramatize Reagan's life with several invented characters--including a fictionalized version of himself and an imaginary gossip columnist who makes wicked comments on Reagan's career. This is one weird tactic, forcing the reader constantly to consult the footnotes at the back of the book to sort things out, and Morris makes it tougher by presenting his invented characters as real, even in the footnotes. Ultimately, the hubbub over Morris's odd method is beside the point. His speculative entry into Reagan's life and mind is plausible, dramatic, literary, and lit by dazzling flashes of insight. We cannot verify Morris's notion that Reagan probably approved the illegal Iran-Contra funding without having a clue it was illegal, or that the "Star Wars" program sprang from his love of Edgar Rice Burroughs's first novel, A Princess of Mars, which featured glass-domed cities. But however bizarre and ignorant his thoughts were, however cold his heart, Morris believes, the guy did crush the Evil Empire and achieve greatness. Morris achieves a kind of greatness, too, but one wishes he had written a more straightforward dramatization of history.