Part of it was his lack of pretense. I realize that seems like an odd way to talk about a pampered, insulated superstar who performed in spangled jumpsuits, but if you watch tapes of him in concert, what strikes you—what strikes me, anyway—is that, unlike his preening, pouting, self-important impersonators, the real Elvis never seemed to take himself particularly seriously. He laughed a lot, and most of his jokes were at his own expense—muttered throwaway lines about the legendary Pelvis, the Leer, and (near the end) the Paunch. He seemed to find the adulation as inexplicable as many of the rest of us do. Watching him, I found it hard not to like him.

“Elvis,” says Linda Cullum, veteran of many years at the gates, “was always a regular person.”

And indeed he was, in some ways. He got very famous, and he got very rich, but he didn’t move to Monaco, didn’t collect Mausse, didn’t hang out with Society. He was a boy from the South, and he stayed in the South, and when he made it, he brought his daddy and mama and relatives and friends to live with him in and around his mansion. To the end, he hung out with good old boys, and he did the things a good old boy does, only more so.

There’s a long-standing tradition in the American South in which getting drunk and/or stoned and chasing women and shooting off pistols and racing cars around for the sheer hell of it are normal, everyday male activities, generally accepted with a resigned or amused shrug by much of Southern society. In the show business part of this society they called this “roarin’ with the ‘billies [hillbillies].” In country music, tradition practically dictated that as soon as you got a little money, you went out and spent it on cars, clothes, rings and women, all flashy. Many in rock and roll adhered to this self-indulgent philosophy.

Elvis was a product of this culture and when you traveled with Elvis, you were roarin’ with the No. 1 Billy.—Elvis: the final Years, by Jerry Hopkins

The cars, the guns, the jewelry, the wild parties, the binges, the famous plane trip from Memphis to Denver in the dead of night solely to buy peanut butter sandwiches—none of this bothers the fans. Hey, it was his money. He earned it.

Another part of it—a big part, the shrinks say—is sexual: repressed longings released by this exotic, sensual stud who dared to thrust his hips at the Wonder Bread world that was white American pop culture in the ‘50s. But that was a long time ago, and there have been plenty of sex symbols since. Why do these people remain so loyal to Elvis? Why does it seem as though their ardor has intensified, rather than cooled, since his death?

And why are their feelings so personal, for a man some of them never saw in person, and many of them never met? Talk to a True Fan, and odds are she won’t talk about Elvis’s art, his genius, the way fans of, say, Bob Dylan will talk. Odds are she’ll tell you how, when he performed, he always seemed to be looking at her, singing to her. The True Fans really believe that Elvis loved them,just as much as they love him. They talk about how much he cared for them, how much he gave them, how, in a way, he died for them. He was under so much pressure, the True Fans say; he worked so hard to meet the demands of his public. No wonder he was sick. No wonder he turned to drugs. In some fans you sense a distinct undercurrent of guilt: If only he hadn’t kept his pain so private, if only I had known, maybe I could have helped. ...

This devotion gets more and more confusing the longer I try to understand it. I’ve been reading books, listening to records, watching tapes, talking to fans, talking to Graceland officials. I have two notebooks full of quotes from people trying to explain the Elvis Thing. They can’t, and neither can I.

But I’m not laughing at it, the way I used to.

There’s a painful scene near the end of the documentary “This Is Elvis” showing Elvis in one of his final concerts, six weeks before he died. His appearance is shocking: This is a bloated, obviously sick man, his belly hanging out over the gaudy belt of his jumpsuit. He sings “Are You Lonesome Tonight,” and when he gets to the talking part in the middle, he forgets the words; forgets the words to a song he must have sung a thousand times. He keeps going, stumbling and slurring, not looking at the audience, giggling to himself as he blows line after line, finally giving up.

When, mercifully, the song ends, Elvis introduces his father, Vernon, who looks only slightly older than his son, and much healthier. And then Elvis sings “My Way,” holding a piece of paper, in case he forgets the words.

“Sometimes,” says Debbie Brown, “I’ll drive by the gates at about 3 in the morning—that was his time—and I’ll turn my back on all the souvenir stores, and just look at the house, and it reminds me a little bit of what it was like. But I don’t really like to do that too much, because it reminds me of how empty it is now. It’s over. The fantasy’s over.

“But just for a little time, I was part of something special. And I was special.”

After Shirley Connell let me look over her back fence at Elvis’s horses, she showed me her photo album. It’s thick with snapshots of Elvis, many taken at the gates. Sometimes it’s just Elvis; sometimes she’s in the background; sometimes he has his arm around her. The two of them change, as you flip through the pages, he from bad-ass motorcycle rocker to Vegas headliner, she from girl to woman, the two of them growing older together.

“I try not to even drive by the gates anymore,” she says.

Now That’s Scary

Recently I played lead guitar in a rock band, and the rhythm guitarist was—not that I wish to drop names—Stephen King. This actually happened. It was the idea of a woman named Thi Goldmark, who formed a band consisting mostly of writers to raise money for literacy by putting on a concert at the American Booksellers Association convention in Anaheim, California.

So she called a bunch of writers who were sincerely interested in literacy and making an unbelievable amount of noise. Among the others who agreed to be in the band were Tad Bartimus, Roy Blount, Jr., Michael Dorris, Robert Fulghum, Matt Groaning, Barbara Kingsolver, Ridley Pearson, and Amy Tan.

I think we all said yes for the same reason. If you’re a writer, you sit all day alone in a quiet room trying to craft sentences on a word processor, which makes weenie little clickety-click sounds. After years and years of crafting and clicking, you are naturally attracted to the idea of arming yourself with an amplified instrument powerful enough to be used for building demolition, then getting up on a stage with other authors and screaming out songs such as “Land of 1,000 Dances,” the lyrics to which express the following literary theme:

Na, na na na na, na na na na Na na na, na na na, na na na na

So we all met in Anaheim, and for three days we rehearsed in a Secret Location under the strict supervision of our musical director, the legendary rock musician Al Kooper. This was a major thrill for me, because Kooper had been my idol when I was at Haverford College in the late 1960s. Back then I played guitar in a band called The Federal Duck, and we tried very hard to sound like a band Al Kooper was in called The Blues Project. Eventually The Federal Duck actually made a record album, which was so bad that many stereo systems chose to explode rather than play it.

Anyway, I could not quite believe that, 25 years later, I was really and truly in a band with Al Kooper, and that he was actually asking for my opinion on musical issues. “Do you think,” he would ask, “that you could play in the same key as the rest of us?”

So, OK, skillwise I’m not Eric Clapton. But I was louder than Eric Clapton, as well as many nuclear tests. I had an amplifier large enough to serve as public housing. It had a little foot switch, and when I pressed it, I was able to generate sound waves that will affect the global climate for years to come. We can only hope that Saddam Hussein is not secretly developing a foot switch like this.