The release of the partially redacted album is part of a larger investigation of the federal government’s handling of Epstein and Maxwell and “possible mismanagement.”
The album is in the spotlight due to an entry allegedly penned by U.S. President Donald Trump, though the White House has denied he wrote it. Entitled The First Fifty Years, the book overflows with handwritten letters, campy sketches and images fixated on women’s bodies.
The book was bound by Weitz & Coleman, an esteemed bookbinder in New York City since 1909, as indicated by a note within the album itself.
Its “vegetable tanned” leather covers, table of contents and sections titled “Family,” “Friends” and “Business” signal an intent to elevate casual notes into a permanent record.
As book historian D.F. McKenzie contends, a book’s physical form shapes its social role. Here, the elaborate binding and careful organization transform private, ephemeral notes into a social gesture, something shared in a legacy format.
In this sense, Epstein’s album sits alongside a tradition of bound tribute books — scrapbooks pressed into leather for golden anniversaries, glossy volumes marking a CEO’s retirement or academic festschrifts that canonize a career. What unites them is the transformation of passing moments into artifacts meant to endure.
Charm, codes, clichés
Maxwell’s prologue describes the book as a retrospective to “jog your memory of places and people and different events.”
In the birthday book, one redacted former “assistant” recalls how working for Epstein transformed her life: she went from being “a 22-year-old divorcée working as a hotel hostess” to rubbing shoulders with royalty, presidents, financiers and celebrities.
One letter from a childhood friend who recently said Maxwell instructed him to write something “raunchy” spins a sexually explicit fantasy about Epstein’s conception before drifting into nostalgic tales of their four-boy Brooklyn clique.
In one vignette, Epstein is praised for flaunting a “beautiful British babe” at his family’s home, his indifference to her feelings reframed as charm. The anecdote turns callousness toward women into a badge of confidence and belonging. The letter concludes: “That shows a lot. It really does … Yes, your charisma and persuasive ways came very early on … you’re my kid’s role model.”
Epstein’s sex life and treatment of women are recurring themes.
A note apparently from private equity investor Leon Black, who was earlier found to have paid millions in fees to Epstein, cast Epstein as Ernest Hemingway’s hero in The Old Man and the Sea, swapping fish for “Blonde, Red or Brunette” women.
Philosophers and scholars of rhetoric have long noted that ready-made clichés can replace inner reflection, forming a “code of expression” that insulates people from moral reckoning.
Laughter as defense
If language conveys loyalty, humor compounds it. Composed in 2003, as Epstein’s notoriety grew, today — amid the knowledge of Epstein’s sex crimes — the birthday book’s laughter seems knowingly defensive.
There are bawdy jokes and mocking nicknames: Epstein is dubbed “Degenerate One” and teased or taunted with “so many girls, so little time.”
As French philosopher Henri Bergson argued, laughter functions as a social corrective: a “kind of social ragging” that polices behaviour by ridiculing deviation under the guise of amusement.
One birthday book contributor quips that Epstein had “avoided the penitentiary.” The comment implies knowledge of punishable behavior, yet also suggests Epstein is an affable rogue.
Figures of authority
The book’s inclusion of entries from public office and science figures could suggest Maxwell and Epstein sought to keep or commemorate connections with figures of authority as a form of perceived legitimacy.
The Wall Street Journal reported that former U.S. president Bill Clinton, whose name appears in the album’s “Friends” section, gave Epstein a handwritten note praising his “childlike curiosity” and drive to “make a difference.” In 2019, a spokesperson for Clinton said he severed ties with Epstein prior to his 2019 arrest and he was not aware of Epstein’s alleged crimes.
Peter Mandelson, recently forced out as the United Kingdom’s ambassador to the U.S. after the Epstein birthday book’s release, penned a note saying Epstein was an “intelligent, sharp-witted man.” Mandelson has said he felt tremendous regret over his Epstein friendship and sympathy for Epstein’s victims.
The birthday book’s “Science” section, with letters from leading scientists, shows that Epstein’s reach extended beyond business and politics into elite academic networks.
Eroticized power and dominance
While some entries strike a mundane or playful tone, others veer into vulgarity.
The former CEO of Victoria’s Secret, Leslie Wexner, contributed a sketch resembling a woman’s breasts with the words “I wanted to get you what you want… so here it is” — framing it as a present. Wexner has said before he severed ties with Epstein in 2007 and declined to comment about the book.
The note allegedly written by Trump features a drawing of a naked woman alongside typewritten text imagining a conversation between them. It calls Epstein “a pal” and ends with the wish that “every day be another wonderful secret.”
Former Microsoft executive Nathan Myhrvold contributed a series of African wildlife photographs, claiming they spoke more vividly than words. The images — of copulating lions and a zebra with an erect penis — foreground predatory and sexualized behavior, and may be interpreted as reflecting a fascination with dominance and raw biological impulse.
The Seattle Times reports that a spokesperson for Myhrvold said Myhrvold knew Epstein “from TED conferences and as a donor to basic scientific research” and “regrets that he ever met him.” The representative did not address the letter.
The legacy of small gestures
While journalists have long documented that Epstein’s networks stretched from political leaders and Wall Street financiers to influential figures in science and culture, it remains to be seen how the carefully curated and gifted birthday book fits into the larger investigation.
The book’s most insidious achievement is its ordinariness. It suggests the ways that power is fortified and legitimized not only with contracts and institutions but through gestures of social life, including commemorative books.
Jason Wang, Postdoctoral Fellow, Modern Literature and Culture Research Centre, Toronto Metropolitan University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
