that began with the New Hampshire Primary on the 1st of June to the eve of the elections in November 1972, Crouse assembled his observations into a series of articles that became the basis for the book.
The book became an instant best-seller. Surprisingly, it was the only book that Crouse wrote. Soon after, he dabbled in freelance writing, spending some time as Esquire’s Washington correspondent, before going into his real love: writing for the theater.
The son of well-known Broadway producer Russell Crouse, whose credits include “Sound of Music”, “Life with Father”, and “Call Me Madam”, and the brother of respected actress Lindsay Crouse, Timothy left journalism in the 1980s and ventured into playwriting.
The captivating narrative of the book highlights Crouse’s storytelling talent. Combining real-life drama with humor, he painted an amusing portrait of the main characters – the journalists, media supporters, and the candidates – on the campaign bus. The bus was a mere metaphor for the closed, cozy, and clubby group of journalists on the campaign trail, but it projects a precise picture of the riotous, fun, and chaotic feel of a school bus packed with a bunch of immature, eccentric, and hyperactive kids.
Crouse’s book sheds a theatrical light on the dramatic aspects of U.S. history in the making. By using as backdrops for his story-telling Nixon’s desperate re-election drive until his political blunder at Watergate, and McGovern’s futile campaign to put up a worthy challenge, Crouse chronicles the minds and characters of the people who tell the stories to America and the whole world. At the same time, he also presents an image of America at a crossroads, caught in the maelstrom of civil unrest at home, a bloody war in Vietnam, and a cold war with Communist Russia.
The journalists that covered the elections moved around like wolves, giving rise to the term pack journalism that marks much of the craft’s contemporary practice,