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and is raped by him in response. He later receives a video of Julian's murder from Rip which has been overdubbed with an angry voicemail from Clay as a means to implicate him in the crime. The novel then depicts sequences of the savage sexual and physical abuse of a beautiful young girl and young boy, perpetrated by Clay. Clay experiences no feelings of remorse or guilt for this, or for exploiting and raping Rain. In the last scenes, it is strongly implied that Blair has been hiring people to follow Clay. In return for his giving her what she wants, she offers to provide Clay with a false alibi that will prevent the police from arresting him as an accomplice to Julian's murder.
335:. He found particular inspiration in the opacity of Chandler's fiction, citing the lack of closure in some of the books, which he called "existentialist masterpieces." He also admired the cynical worldview that Chandler created, and his particular sense of style and mood. In terms of his own plotting, however, he opined that "plots really don't matter", nor solutions to mysteries, because it's "the mood that's so enthralling... kind of universal, this idea of a man searching for something or moving through this moral landscape and trying to protect himself from it, and yet he's still forced to investigate it." Part of the "impetus" behind
626:, Clay felt protective of Julian, who had fallen into prostitution and drug addiction, in the new novel, he attempts to have him killed. The "grisly" dispatch of Julian late in the book, and Clay's casual mention of it early on, were part of a "rhythm" that Ellis felt suited the book. He speculates whether "the artist looking back" becomes a destructive force. He hadn't planned to kill off the character, just finding that while writing "it felt right". Rip Millar occupies both terrifying and
669:' to the extent that it confronts the minimal limits of identity". She further argues that the novel's motif of facial recognitions amounts to the message that people should be read "at face value", and that furthermore, past action is the greatest indicator of future behaviour, leaving no room for "change, growth, self-reinvention". In terms of stylistic literary changes, Ellis also displays more fondness for the
896:, Clay's passivity worked to protect him from the "bleak moral landscape he was a part of", which he views as Clay's major flaw. Ellis developed this into the more unabashedly 'guilty' Clay of the new novel. Ellis says that "a portrait of narcissism was the big nut that I had. Of entitlement. This imperial idea." The difference he notes between this "portrait of a narcissist" and his earlier ones, such as
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retro-trends and ready-made nostalgia, easy to package into fashion lines and TV shows". The review bemoans that the novel's theme, the dark side of
Hollywood, is no longer a culture-shocking revelation, and that Ellis fails to capitalize on the narratorial conceit which it opens with. Maurstrad does highlight positive aspects, however. Ellis wisely "appropriates the unblinking brutality ...
489:". The reason behind this shift in character personality was due to Ellis's lack of interest in the other characters—thus the solipsism is mirrored in the fiction. For Ellis, this became "an exploration of intense narcissism." In 2010, Clay is now a "successful screenwriter" with the "occasional producer credit". He returns to LA to help cast
827:, and that ostensibly, Ellis is 'the author' whom Clay knew. However, there are clear differences to the characters, as well. For example, Ellis had to omit lines from the book he felt Clay would never have thought of, on subjects he would never have noticed. Ellis himself feels he is adapting to middle-age very well; Clay, however, isn't.
520:"; Ellis says that he would not disagree with this, citing the ambiguous nature of Bateman's crimes. In terms of Clay's psychology, Ellis notes his preponderance for a "masochistic cycle of control and rejection and seduction and inevitable pain", which "is something he gets off on because he's ...a masochist and not a romantic." The
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the studio would ever expose their children in the same black light the book did". To Bill
Eichenberger, this shows how "the children have become the parents, writing scripts and producing movies, still imprisoned by Hollywood's youth and drug cultures – but now looking at things from the outside in." Eisinger comments for the
1279:, saying "There's no deal, there's no one attached. There's been some vague talk among the cast members... As far as I know right now nothing's happening." Ellis opines that were Robert Downey Jr. to get involved, the film would move straight into production. However, remembering the adaptation process
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notes "his passivity has hardened into something far more culpable, and nefarious." According to Ellis, "In LA, over time, the real person you are ultimately comes out." He also speculates "maybe the fear turned him into a monster". Ellis remarks that he finds the developments in Clay "so exciting".
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film, described the novel as "an exciting, shocking conclusion... a surprising one." The actor praised Clay's character, citing a "wicked vulnerability" which the character covers up with alcohol, hostility, and its portrayal of a world "full of pain and suffering and unkindness" beneath the "glossy
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had merely been "just a writer pretending to be him". When asked why he "changed" Clay from "passive" to "guilty", Ellis explained he felt Clay's inaction in the original novel made him equally as guilty; it had "always bothered" Ellis that Clay didn't do anything to save the little girl being raped
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As the novel progresses, Clay learns that Rip also had a fling with Rain and is now obsessed with her. When Clay discovers that Julian is currently Rain's boyfriend, he conspires with Rip to hand Julian over to him. When Julian is then found murdered, Rain confronts Clay about his role in the affair
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Clay attempts to romance Rain Turner, a gorgeous young woman auditioning for a role in his new film, leading her on with the promise of being cast, all the while knowing she will never get the part because of her complete lack of acting skills. His narration reveals he has done this with a number of
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Following her positive comments, however, Battersby concludes negatively. The book is a "bleak performance... a tired study of the vacuous" with the feeling of an improvised screenplay being performed by an uncommitted cast. She sums that Ellis' novel "consists of too many doors being left slightly
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than in previous works. For the most part, the novel is written in Ellis' trademark writing style; Lawson refers to this as "sexual and narcotic depravities in an emotionless tone." With regard to this style, Ellis cites precursors to himself, particular the work of filmmakers. Ellis feels that the
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one could possibly imagine", they remained to other reviewers "particularly sympathetic". Like the novel, its characters were equally cultural milestones, described by a reviewer as "seminal characters" (of
American fiction). On the subject of the 1987 film, Clay describes that "the parents who ran
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novel and its film adaptation are actual representational works within the narrative of his life: "The movie was based on a book by someone we knew... It was labeled fiction but only a few details had been altered and our names weren't changed and there was nothing in it that hadn't happened." The
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notes "Although Blair and Trent have children, the children are never described and hardly mentioned; their absence is "even more unsettling than the absence of parents in a story about teenagers, underlining the endlessly narcissistic nature of the characters' world." Julian Wells has gone on to
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is "a story anyone is interested in anymore", because Ellis' "blunt, spare, journal-entry prose" is no longer, in 2010, "the backstage pass" it once was to the lives of "LA's rich and famous". Furthermore, Tom
Maurstrad argues that since the 1980s, that decade has become a "go-to bargain bin for
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notes the tendency for Ellis' reviews to be "unpredictable"; he cited the irony of favour amongst right-wing critics, and the extent to which the liberal media attack his work. Ellis himself, however, states that he "proudly" accepts the label of moralist. He also attributes some of the negative
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is also meant to be Ellis, describing him in Clay's voice as "too immersed in the passivity of writing and too pleased with his own style to bother with many commas to admit it so he wrote me into the story as the man who was too frightened to love." With regard to the opening narrative conceit,
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as it continually returned to him. After gestating the idea, and making "voluminous notes", Ellis realised that his detailed outline had become longer than the finished book. He felt that this process of note-taking limited him to the novels that he genuinely wanted "to stay with for a couple of
1142:". With regards to the novel's writing style, he comments "The first-person sentences run on and on, but the individual sections of the book are nothing if not minimal... ghastly narcissism or not, Bret Easton Ellis has a fictional territory all his own and, heaven forbid, a mastery there." The
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website later announced the on sale date of June 22, 2010, in both hardback and paperback. With it, they released a picture of the book's cover and a short synopsis, which described the book as focusing on a middle-aged Clay, now a screenwriter, drawn back into his old circle. Amidst this, Clay
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announced that Ellis had nearly finished the novel and it would be published in May 2010. At the time, Ellis revealed that all the novel's main characters would return. Prior to publication, Ellis had been convinced by his persuasive editor to remove some of the more graphic lines from
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Regarding the book's achievement, Shone remarks "He now stands at year zero – creatively, psychologically." However, typical features of Ellis' earlier works remain intact; for example, in its depictions of violence. Commenting on its self-referential aspects, Janelle Brown of the
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as "the very definition of authorly meta: Ellis is either so deeply enmeshed in his own creepy little insular world that he can't write his way out of it, or else he is such a genius that he's created an entire parallel universe that folds and unfolds on itself like some kind of
377:," he said, however, was to omit a three-line description of a silver wall, because he felt that Clay would never have written it. Ellis stated he had no plans to make changes to the book as it stands in a second edition. Months prior to the book's release, Ellis
204:. Its story follows Clay, a New York-based screenwriter, after he returns to Los Angeles to cast his new film. There he becomes embroiled in the sinister world of his former friends and confronts the darker aspects of his own personality. The novel opens with a
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of unremitting torture... enacted by Clay on two beautiful teenagers who are bought and systematically abused" demonstrates "Clay's graduation from a passively colluding observer to active perpetrator... who either indulges in torture or fantasizes about it."
775:" had here been combined. Ellis himself raised the "sequel" question, commenting "... I don't think it is . Well, I mean, it is and it isn't. It's narrated by him, sure. But I guess I could maybe have switched the names around and it could stand alone."
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that he enjoyed his return to minimalism, because of the challenge of "rying to achieve that kind of tension with so few words was enjoyable to do." While some reviewers of popular fiction derided Ellis's style as "flat", others found it unexpectedly moving.
1041:'s: part of the scenery. More noticeable is the misting of melancholy that enshrouds LA's billboards and boulevards, and the mysterious crying fits that steal over its hero... Feelings? In a novel by Bret Easton Ellis? Whatever will his fans say?
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Ellis queries "Is it complication ... or is it clarification?", opining that it certainly is the latter for Clay. Even though Ellis never names himself explicitly in the book, he conceded to Lawson that one can "guess is who the Clay of
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notes how Clay "shares biographical details with Ellis", a successful party-boy, who in 1985 was "often conflated with his fictional counterpart." Ellis asserts to the contrary, "I'm not really Clay." As opposed to his portrayal in
849:-stalked throughout the book; Ellis himself had been "text-stalked" before in real life. Ellis feels this was an unconscious exploration of the dynamics brought on by the new technology. The author also predicts that "fans of
590:; according to one reviewer, "not all that much is changed. Clay is a cipher, an empty shell who is only able to approximate interactions and experiences through acts of sadism and exploitation." He is also, in many ways, a
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asking "Is Clay really being followed or is he being dogged by a guilty conscience for crimes committed, even when they are crimes of inaction?" Over the novel, "Clay shifts from damaged to depraved"; a "final scene in
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describes him, hyperbolically, as "like the supervillain of these two books". Uncertainties about the character's "specifics" originate in Clay, who "doesn't really want to know, which makes it kind of scarier".
1160:". She further compliments Ellis as "a bizarrely moral writer who specializes in evoking the amoral." Concerning his writing, she notes its "despair is blunt, factual and seldom approaches the laconic unease of
724:'s popular performance as Julian in the moralistic 1987 film, in which he died; Ellis appreciates the adaptation as a "milestone in a lot of ways". The device also allows the novelist to insert self-critique;
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although both are ostensibly narrated by Clay. In doing this, Ellis is able to comment on the earlier novel's style and on the development of its moralistic film adaptation. In the novel Ellis explores Clay's
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and shimmering and seductive" veneer of
Hollywood. McCarthy described his experience of reading the book as like "revisiting an old friend", owing to the consistency of the characters' and Ellis' voices.
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notes how Ellis' own sexuality, frequently described as bisexual, has been notoriously hard to pin down. Reviewers have long tried to probe Ellis on autobiographical themes in his work. He reiterates to
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or even see a skilled psychologist or take the right medication to fend off despair. They are bound to be
American psychos." Their development, some critics have observed, illuminates the ways they have
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and humans are zombies: one character's face is "unnaturally smooth, redone in such a way that the eyes are shocked open with perpetual surprise; it's a face mimicking a face, and it looks agonized."
410:: his philandering friend Trent Burroughs—who has married Blair—is a manager, while Clay's former classmate at Camden, Daniel Carter, has become a famous director. Julian Wells, who was a
904:, come in the form of its more moral bent: "This time", Ellis comments, "the narcissist reaches a dead end." To one reviewer, Clay's world at its most exaggerated, in the scenes of torture, reach
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Clay was originally a flattering portrayal of Ellis. Ellis discusses lightly the kinds of self-insertion present in the book. While Clay is clearly (parodically) working on the film adaptation of
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Much critical attention has been given to the development of the characters from the original book, 25 years on. One review opined that " characters are incapable of growth. They cannot credibly
1003:; both have "a flair for such perfect, surreal description" but "struggle to set it in an effective context." Other writers attempting to gauge the book's reception also describe it as "mixed".
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as examples) don't get asked if their novels are autobiographical. (However, Ellis tells one interview, that he "cannot fully" say that "I'm not Clay" because of their emotional "connections".)
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felt that in spite of its flaws, the book was enjoyable for its "beautiful one-liners" and the fun of "seeing the old Easton Ellis magic applied to the popular culture of our era ... iPhones,
1988:
782:, Ellis stated he "really know", and that he wished he could provide "an answer – depicting as extremely conscious of those choices". He believes it to be an "interesting aspect of work".
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observes that "The last few pages of are among the most moving passages I know in recent
American fiction ... Bret was coming to terms with his relationship with his father in that book."
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technique itself gives the reader a unique kind of insight into the characters, and comments that "numbness is a feeling too. Emotionality isn't the only feeling there is." In terms of
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815:. Ellis feels that the autobiographical truths of his novels lie in their writing processes, which to him are like emotional "exorcisms". Crace's abovementioned parody suggests that
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employs more of the conventional devices of popular fiction. Reviews were mixed and frequently polarized. Some reviewers felt the novel was a successful return to themes explored in
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in the US had issues with it, not least feelings of betrayal. He feels these are ironic because the book is in fact a critique of a certain kind of male perspective and behaviour.
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actor Andrew McCarthy stated it was "early days" in thinking about a potential film adaptation; McCarthy felt, however, that the novel would adapt well. Because the characters in
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depicts Clay, who, after four months in New York, returns to Los
Angeles to assist in the casting of his new film. There, he meets up with his old friends who were characters in
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892:(1998), allows Ellis to make a number of observations about contemporary pop culture via Clay, such as when he asserts "that exposure can ensure fame". Ellis comments how in
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Blair and Trent
Burroughs share a loveless marriage. Blair remains, according to Janelle Brown, "the moral center of Ellis' work", and Trent has become a Hollywood manager.
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874:"vision of society is bleak; his dark studies of the human animal as shocking as ever." The new setting poses questions, such as "Is Hollywood intended as a variation of
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1071:... so moving?", noting the presence of "feelings" in the novel to be starkly different from Ellis' usual style. Touching on its personal qualities, Shone notes "If
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720:, doppelgänger gambit", making his new narrator "the real Clay" and the other an imposter. This allows Ellis to skilfully, "with writerly jujitsu", acknowledge
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as the only counter-example, while deeming that it "still read more like restrained criticism than outright praise". On the subject of reviews, British critic
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is referring to." Ellis did, however, reveal that he had not decided when writing the novel whether Clay was referring to him or not. Eileen
Battersby likened
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developed as people; Clay is, for example, "in mind and spirit if not quite in body, destined to remain unchanged, undeveloped, unlikable and unloved." In
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This book has its share of horror, not least a series of gangland slayings, but then dead bodies are to a Bret Easton Ellis novel what aspidistras are to
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begins dating a young actress with mysterious ties to Julian, Rip, and a recently murdered Hollywood producer; his life begins to spin out of control. In
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316:, Ellis began to reflect on how his characters would have developed in the interim. Soon, he found himself "overwhelm" by the idea of what would become
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described this as a "nifty little trick", as it allows Ellis to establish the newer book "as the primary narrative, one that trumps Ellis as author
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ajar, and not enough rooms, or opportunities, being fully explored." Some critics have questioned the book's relevance to a contemporary audience.
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went through, he admits "I've learned to be cautious about saying oh they'll never turn this dark depraved character into any sort of interesting
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style and applies it to the 2000s (decade) and 2010s, covering amongst other things, the impact of new communication technologies on daily lives.
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181:'s self-destructive and disillusioned youths as they approach middle-age in the present day. Like Ellis' earlier novel, which took its name from
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Ellis described the novel as an "autobiographical noir during a midlife crisis". His most significant literary influence was American novelist
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men and women in the past, and yet often comes out of the relationship hurt and damaged himself. Over the course of their relationship, he is
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saying it "ranks with his best in the latter register ." The latter review accused Ellis of falling flat, attracting negative comparison to
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1183:, to add some dramatic heft to this anorexic update", making the sequel a "celebrity snuff film" to the earlier "backstage pass". The
390:, Los Angeles returns once again as the book's setting. It is, along with New York, one of the two major locations in Ellis' fiction.
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478:, that while "they're in careers now and new relationships and different states of mind... their preoccupations are just the same."
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991:. The first two reviews are positive, praising Ellis' "modern noir", the book's "atmosphere", and indebtedness to Philip Roth and
837:, its "huge shift" is a technological one. The novel picks up on many aspects of the early 21st-century culture, such as Internet
661:... form part of a metaphysical investigation." Kelly describes it as an exposé of the worst depths of human nature, labelling it
1067:, praised the novel for its atypical qualities for Ellis, "known for his orgies of violence". Shone asks "Why is a new sequel to
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763:(2005), cited his use of "self-consciousness as a device." This device was picked up on by several other critics—in particular,
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recommends "for his next endeavor, Ellis should stop worrying and start looking for the exit of his own personal rabbit hole."
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1024:; today, he observes young girls "reading the works correctly", opining the books shouldn't be read through the lens of "
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calls it a "neat trick of authorial self-abnegation". Another reviewer describes it as Ellis at "his most ambitious", a "
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on the other hand, described this prose style as "flat and fizzless". Such is the book's violent aesthetic that, for
922:(1932), "where the "command economy" now manifests as rampant, late-capitalist consumerism, where ambien is the new
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in June 2010 that he would be interested in writing the screenplay. In July 2010 however, the author clarified to
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845:. The novel reflects how technology changes the nature of interpersonal relationships. Additionally, Clay is
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to make a stand or a case for himself, though ultimately "reveals himself to be far worse than the author of
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representing struggling young actors who do not wish to tarnish future careers. Rip Millar, Clay's former
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is an industry town running on exploitation", and criticizes this theme for being unoriginal in 2010. An
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and is frequently reminded by various individuals of the grisly murder of a young producer whom he knew.
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467:, though the characters of the novel compose for some "the most hollow and vapid representation of the
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thrust is its "narrative... of exploitation". One reviewer describes the novel's "central theme" as "
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612:"deeply pessimistic presentation of human nature as assailable... an unflinching study of evil."
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Asked about the motif and "casual approach to" bisexual characters in his novels, continued in
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deemed that the novel's reviews were mostly negative, citing Dr. Alison Kelly's article for
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539:, Clay has stagnated in an impassive and jaded state, abusing alcohol and sedatives such as
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awarded the novel its Editor's Choice. Jeff Simon comments that it "brings an excessive
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finds its characters "still a little sore at their depiction as inarticulate zombies".
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373:' torture scenes, which he later regretted. "My most extreme act of self-censoring in
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damned the novel as "a dull, stricken, under-medicated nonstory that goes nowhere."
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reviewer felt the novel was simply dull, "impoverished", and "ghastly", whereas the
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devoid of emotion. Some commentators have noted however that unlike previous works,
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485:, "once a paralyzed observer, is now a more active character and has grown to be a
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1550:"Bret Easton Ellis Finishes 'Less Than Zero' Sequel, Wants Robert Downey Jr. Back"
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ever began to hint at." Clay still bears similarities to the earlier character in
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One reviewer summarized the character's development, "The nascent narcissist of
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357:"; he felt he began assessing audience's reactions to his work when working on
339:, which Ellis "wrestled with", was to try and dispel the "sentimental" view of
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1583:"Robert Downey Jr. Back For Less Than Zero 2? Brett Easton Ellis Suggests So"
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and Ellis' earlier works have received in the past to the earlier schools of
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establish a very exclusive escort service of his own in Hollywood. While in
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1733:""They had made a movie about us." The first sentence of Imperial Bedrooms"
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In May 2010, when MTV News first announced that Ellis had finished writing
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opens with an acknowledgement from Clay, the main character, that both the
1087:". The emotive energy in the new book is traced back to the last pages of
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tendencies, and exploitative personality, which had been less explicit in
169:, Ellis' 1985 bestselling literary debut, which was shortly followed by a
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1782:"Bret Easton Ellis puts his seminal characters into 'Imperial Bedrooms'"
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have been owned by 20th Century Fox since Ellis sold the film rights to
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that he is not Clay. Ellis says that other contemporary authors (naming
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1647:"Does Bret Easton Ellis Want Robert Downey, Jr. To Be An Addict Again?"
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kind of movie, but I could be totally wrong about that. I don't know."
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the first sentence of the novel, "They had made a movie about us." The
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1514:"Q&A: Bret Easton Ellis talks about writing novels, making movies"
233:. Ellis chose to do this in part to dispel the sentimental reputation
1614:"Bret Easton Ellis Wants to Reunite Less Than Zero Cast for a Sequel"
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reviewer opined that "Ellis is aiming for noir, for the territory of
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character, because the opening of the book presents that the Clay of
555:, the novel also poses the question of Clay's perception of reality,
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1050:, commenting on typical and atypical features of the new novel for
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observed the novel's philosophical qualities, and opined that its "
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attempted to aggregate what they found to be polarised reviews of
503:). Now 45, and no longer a disaffected teen, Clay is described by
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Person, Jesse (June 2010). "In the magazine: Bret Easton Ellis".
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has accrued over the years, that of "an artifact of the 1980s".
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years". To this, he attributed having "written so few novels".
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and has become disfigured through repeated plastic surgeries.
284:(1991), while others derided it as boring or self-indulgent.
304:. The novel takes its name from Elvis Costello's 1982 album
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The action of the novel takes place twenty-five years after
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that made it, to some, "an artifact of the 80s" alongside "
2197:(July 6, 2010). "Imperial Bedrooms by Bret Easton Ellis".
2047:"Fiction review: 'Imperial Bedrooms' by Bret Easton Ellis"
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depicts scenes of sex, extreme violence and hedonism in a
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also breaches several new territories. When compared to
2019:"Book review: 'Imperial Bedrooms' by Bret Easton Ellis"
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2301:"Book buzz: 'Imperial Bedrooms' by Bret Easton Ellis"
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which suggests the possibility that the narrator of
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2381:"Less than zero: Bret Easton Ellis's sequel misses"
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1964:
1962:
1235:, and felt that interpreting it as a sequel to the
608:... is now left in a "dead end". The novel is Ellis
312:had been named for a Costello single. Upon reading
139:
127:
119:
107:
99:
89:
79:
69:
61:
51:
41:
2416:"Are you excited for the 'Less Than Zero' sequel?"
406:. Like Clay, they have all become involved in the
1389:
1387:
1385:
1383:
1381:
1379:
1377:
1375:
1373:
163:. Released on June 15, 2010, it is the sequel to
1891:
1889:
1887:
1704:(Interview: Audio). Interviewed by Mark Lawson.
2189:
2187:
1809:
1807:
1035:
300:during the writing of his 2005 pseudo-memoir,
2458:
2012:
2010:
2008:
2006:
1853:
1851:
1849:
1847:
1845:
1843:
1214:Andrew McCarthy, who played Clay in the 1987
531:, Clay is more unambiguously manipulative in
8:
1775:
1773:
1771:
1769:
493:(reminiscent of Ellis' involvement with the
21:
2410:
2408:
1940:"'Imperial Bedrooms,' by Bret Easton Ellis"
1686:
1684:
1682:
1680:
1678:
1676:
1674:
1672:
811:came out, which led to him being seen as a
2465:
2451:
2443:
1339:
1337:
1335:
1099:observes that the "final passages in both
870:review notes positively however that Ellis
807:attributes this streak to Ellis' age when
535:; he is, in Ellis' words, "guilty". As in
418:, has become an ultra-discreet high-class
252:during the development of his 2005 novel,
27:
20:
1979:"Imperial Bedrooms, By Bret Easton Ellis"
1543:
1541:
767:noted that "the scatological violence of
248:Ellis began working on what would become
2080:"Imperial Bedrooms by Bret Easton Ellis"
1898:"BRET EASTON ELLIS: THE ETERNAL BAD BOY"
1310:"Imperial Bedrooms by Bret Easton Ellis"
1991:from the original on September 28, 2010
1731:Bret Easton Ellis (November 7, 2009).
1626:from the original on September 21, 2011
1481:
1479:
1477:
1346:"Bret Easton Ellis: interview outtakes"
1301:
746:that "the author" of the metafictional
212:may not be the same as the narrator of
2217:
2206:
2132:from the original on November 20, 2018
2115:
2113:
2111:
1933:
1931:
1929:
1927:
1925:
1475:
1473:
1471:
1469:
1467:
1465:
1463:
1461:
1459:
1457:
1271:rights revert to Fox. Ellis stated to
2248:from the original on January 23, 2016
1872:from the original on October 21, 2012
1712:from the original on October 16, 2010
1696:"Bret Easton Ellis and Camille Silvy"
1581:Connolley, Brendon (April 14, 2009).
1427:Ellis, Bret Easton (April 18, 2019).
1396:"Bret Easton Ellis' wilted innocence"
1083:pulls the thread further and reaches
7:
2280:from the original on January 7, 2011
2236:"Critical eye: book reviews roundup"
1780:Eichenberger, Bill (June 15, 2010).
2428:from the original on April 26, 2010
2268:"Culture Vulture: reviews round-up"
2045:McGregor, Michael (June 26, 2010).
1860:"A bulletin from the outer fringes"
1858:Battersby, Eileen (June 12, 2010).
1814:Eisinger, Dale W. (June 14, 2010).
2172:from the original on June 15, 2011
2096:from the original on June 30, 2010
2059:from the original on July 16, 2010
1657:from the original on June 25, 2013
1408:from the original on June 17, 2010
1394:Kellogg, Carolyn (June 13, 2010).
1358:from the original on June 15, 2010
1344:Gauthier, Robert (June 11, 2010).
1320:from the original on April 9, 2010
771:" and "the otherworldly terror of
14:
2731:Books with cover art by Chip Kidd
2393:from the original on July 8, 2010
1910:from the original on June 4, 2010
1792:from the original on June 7, 2011
1548:Carroll, Larry (April 14, 2009).
1107:pack a lot of emotional impact."
543:, "living with a kind of psychic
328:, citing his particular brand of
2686:2010 LGBT-related literary works
2326:"Enfant more dull than terrible"
2299:Wengen, Deidre (June 21, 2010).
2017:Maurstrad, Tom (June 13, 2010).
1938:Brown, Janelle (June 20, 2010).
1645:Lewis, Hilary (April 14, 2009).
2120:Fischer, Mike (June 17, 2010).
2078:Kelly, Alison (June 27, 2010).
1612:Graham, Mark (April 14, 2009).
18:2010 novel by Bret Easton Ellis
2379:Atkinson, Jay (July 4, 2010).
497:of his short story collection
296:began after Ellis had re-read
258:. As with his previous works,
241:retains Ellis' characteristic
159:is a novel by American author
1:
2351:Simon, Jeff (June 20, 2010).
1977:Akbar, Arifa (July 9, 2009).
1896:Gordinier, Jeff (June 2010).
438:by unknown persons driving a
2158:Shone, Tom (June 13, 2010).
1174:poses the question, whether
1075:unspooled the atrocities of
738:, in his "digested read" of
570:The novel is written in the
354:Fast Times at Ridgemont High
2746:Novels with bisexual themes
2701:Novels by Bret Easton Ellis
690:Literary devices and themes
2762:
2648:The Curse of Downers Grove
1759:February 14, 2010, at the
193:is named after Costello's
187:1977 song of the same name
2716:Fiction about snuff films
2706:Novels set in Los Angeles
2244:. London. June 26, 2010.
2160:"Once more, with feeling"
1512:Baker, Jeff (July 2010).
481:Clay, the protagonist of
26:
1223:Possible film adaptation
509:as "arguably worse than
2597:The Rules of Attraction
2503:The Rules of Attraction
2126:The Wall Street Journal
2024:The Dallas Morning News
1945:San Francisco Chronicle
1267:, prospective film for
1126:San Francisco Chronicle
1109:San Francisco Chronicle
1091:as well; fellow writer
853:" may "feel betrayed";
813:voice-of-the-generation
713:San Francisco Chronicle
426:, now controls his own
219:pathological narcissism
1201:, but ends up with an
1079:back to their source,
1043:
975:compiled reviews from
952:London Review of Books
649:, Alison Kelly of the
2691:Alfred A. Knopf books
1237:1987 movie adaptation
742:, insinuates through
710:the real world." The
2741:American LGBT novels
2696:Metafictional novels
2681:2010 American novels
1651:The Business Insider
1562:on February 21, 2014
1526:on November 15, 2010
1519:California Chronicle
1277:California Chronicle
730:reviewer notes that
651:University of Oxford
630:roles in the novel.
599:in the first novel.
545:"locked-in" syndrome
495:2009 film adaptation
2656:Smiley Face Killers
2330:The Periscope Press
1185:Wall Street Journal
1145:Wall Street Journal
1026:old school feminism
1005:The Periscope Press
993:F. Scott Fitzgerald
364:On April 14, 2009,
292:The development of
23:
2424:. April 22, 2010.
1692:Ellis, Bret Easton
1433:. April 18, 2019.
1022:feminist criticism
988:The New York Times
943:, noting that one
22:Imperial Bedrooms
2736:2010s LGBT novels
2711:Novels about rape
2666:
2665:
2535:Imperial Bedrooms
2478:Bret Easton Ellis
2353:"Editor's Choice"
2216:Missing or empty
1816:"Two Times' Zero"
1763:, Randomhouse.biz
1754:Imperial Bedrooms
1694:(July 14, 2010).
1593:on April 16, 2009
1440:978-1-5290-1241-5
1401:Los Angeles Times
1351:Los Angeles Times
1269:Imperial Bedrooms
1261:Imperial Bedrooms
1245:Robert Downey Jr.
1229:Imperial Bedrooms
1176:Imperial Bedrooms
1113:Imperial Bedrooms
1101:Imperial Bedrooms
1081:Imperial Bedrooms
1030:Imperial Bedrooms
1018:Imperial Bedrooms
941:Imperial Bedrooms
914:Imperial Bedrooms
910:dystopian fantasy
855:Imperial Bedrooms
843:depict executions
831:Imperial Bedrooms
780:Imperial Bedrooms
753:Imperial Bedrooms
740:Imperial Bedrooms
732:Imperial Bedrooms
722:Robert Downey Jr.
704:Los Angeles Times
695:Imperial Bedrooms
657:-style hints and
580:Imperial Bedrooms
564:Imperial Bedrooms
523:Los Angeles Times
400:Imperial Bedrooms
388:Imperial Bedrooms
375:Imperial Bedrooms
371:Imperial Bedrooms
337:Imperial Bedrooms
318:Imperial Bedrooms
294:Imperial Bedrooms
268:Imperial Bedrooms
260:Imperial Bedrooms
250:Imperial Bedrooms
239:Imperial Bedrooms
210:Imperial Bedrooms
191:Imperial Bedrooms
175:Imperial Bedrooms
161:Bret Easton Ellis
156:Imperial Bedrooms
152:
151:
100:Publication place
52:Cover artist
46:Bret Easton Ellis
35:Imperial Bedrooms
2753:
2726:Hollywood novels
2573:Film adaptations
2467:
2460:
2453:
2444:
2438:
2437:
2435:
2433:
2412:
2403:
2402:
2400:
2398:
2386:The Boston Globe
2376:
2370:
2369:
2367:
2365:
2358:The Buffalo News
2348:
2342:
2341:
2339:
2337:
2322:
2316:
2315:
2313:
2311:
2296:
2290:
2289:
2287:
2285:
2276:. July 5, 2010.
2264:
2258:
2257:
2255:
2253:
2232:
2226:
2225:
2219:
2214:
2212:
2204:
2191:
2182:
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2179:
2177:
2165:The Sunday Times
2155:
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2141:
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2075:
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2014:
2001:
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1893:
1882:
1881:
1879:
1877:
1855:
1838:
1837:
1835:
1833:
1828:on June 17, 2010
1824:. Archived from
1811:
1802:
1801:
1799:
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1609:
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1600:
1598:
1589:. Archived from
1578:
1572:
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1569:
1567:
1558:. Archived from
1545:
1536:
1535:
1533:
1531:
1522:. Archived from
1509:
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1325:
1306:
1286:Mulholland Drive
1199:Raymond Chandler
1190:The Boston Globe
1150:Eileen Battersby
1131:The Buffalo News
1064:The Sunday Times
1054:
1052:The Sunday Times
873:
859:
797:Jonathan Franzen
727:The Sunday Times
674:pathetic fallacy
664:
611:
515:
326:Raymond Chandler
306:Imperial Bedroom
264:minimalist style
140:Preceded by
91:Publication date
74:Literary fiction
31:
24:
2761:
2760:
2756:
2755:
2754:
2752:
2751:
2750:
2671:
2670:
2667:
2662:
2619:
2589:American Psycho
2568:
2549:
2511:American Psycho
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2429:
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2406:
2396:
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2350:
2349:
2345:
2335:
2333:
2332:. June 29, 2010
2324:
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2319:
2309:
2307:
2305:PhillyBurbs.com
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2205:
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2173:
2157:
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2135:
2133:
2122:"Zero Progress"
2119:
2118:
2109:
2099:
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2077:
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2072:
2062:
2060:
2044:
2043:
2039:
2029:
2027:
2016:
2015:
2004:
1994:
1992:
1984:The Independent
1976:
1975:
1960:
1950:
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1937:
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1841:
1831:
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1795:
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1778:
1767:
1761:Wayback Machine
1752:
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1308:
1307:
1303:
1299:
1241:Andrew McCarthy
1233:film adaptation
1225:
1181:American Psycho
1158:American Psycho
1154:The Irish Times
1077:American Psycho
1056:
1045:
1016:criticism that
977:The Independent
961:internet videos
932:
919:Brave New World
898:American Psycho
871:
857:
801:Jonathan Lethem
769:American Psycho
692:
662:
641:
609:
601:The Independent
558:The Independent
518:Patrick Bateman
513:
511:American Psycho
452:
412:male prostitute
396:
290:
281:American Psycho
206:literary device
171:film adaptation
108:Media type
92:
37:
19:
12:
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5:
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2609:
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2593:
2585:
2581:Less than Zero
2576:
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2495:Less than Zero
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2143:
2107:
2085:guardian.co.uk
2070:
2037:
2002:
1958:
1921:
1883:
1839:
1821:New York Press
1803:
1765:
1746:
1739:) – via
1723:
1668:
1637:
1604:
1573:
1537:
1495:
1453:
1439:
1419:
1369:
1331:
1300:
1298:
1295:
1281:Less than Zero
1265:Less than Zero
1257:Less than Zero
1224:
1221:
1216:Less than Zero
1085:Less Than Zero
1069:Less Than Zero
1061:, writing for
1034:
931:
928:
894:Less than Zero
880:movie industry
851:Less Than Zero
835:Less than Zero
825:Less than Zero
817:Less than Zero
809:Less than Zero
793:Michael Chabon
748:Less than Zero
718:Philip Rothian
699:Less than Zero
691:
688:
667:existentialist
659:foreshadowings
640:
637:
624:Less than Zero
606:Less Than Zero
596:Less than Zero
588:Less than Zero
584:Less Than Zero
576:Less than Zero
529:Less than Zero
483:Less than Zero
475:New York Press
469:MTV generation
465:Less than Zero
451:
448:
416:Less than Zero
404:Less than Zero
398:The action of
395:
392:
341:Less than Zero
310:Less than Zero
298:Less than Zero
289:
286:
272:Less than Zero
235:Less than Zero
231:Less than Zero
214:Less than Zero
202:Less than Zero
183:Elvis Costello
179:Less than Zero
166:Less than Zero
150:
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145:Less than Zero
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2724:
2722:
2721:Sequel novels
2719:
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2632:The Informers
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2615:
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2613:The Informers
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2562:The Informers
2559:
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2554:Short fiction
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2273:New Statesman
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2052:The Oregonian
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1786:Cleveland.com
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1587:Slashfilm.com
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1865:Irish Times
1706:BBC Radio 4
1291:David Lynch
1205:episode of
1171:Dallas News
1136:Reaganesque
1013:Mark Lawson
1001:Martin Amis
995:, with the
908:heights of
867:Irish Times
424:drug dealer
347:movies and
345:John Hughes
223:masochistic
2675:Categories
2605:Glitterati
2543:The Shards
2527:Lunar Park
2218:|url=
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2092:. London.
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1297:References
1253:Jami Gertz
1162:JG Ballard
1138:flavor to
1105:Lunar Park
1089:Lunar Park
1073:Lunar Park
902:Lunar Park
773:Lunar Park
761:Lunar Park
736:John Crace
487:narcissist
456:find Jesus
450:Characters
359:Lunar Park
308:, just as
302:Lunar Park
288:Background
276:Lunar Park
255:Lunar Park
195:1982 album
2519:Glamorama
2421:USA Today
1701:Front Row
1661:April 15,
1630:April 15,
1597:April 15,
1566:April 15,
1446:April 23,
1239:starring
1203:XXX-rated
1059:Tom Shone
1048:Tom Shone
930:Reception
889:Glamorama
878:? Is the
862:Hollywood
671:Ruskinian
547:." As in
177:revisits
173:in 1987.
113:Hardcover
80:Publisher
56:Chip Kidd
33:Cover of
2426:Archived
2391:Archived
2364:June 20,
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2278:Archived
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1624:Archived
1619:New York
1555:MTV News
1412:June 30,
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1362:June 15,
1356:Archived
1324:July 21,
1318:Archived
1120:print."
997:Observer
906:Huxleyan
884:coliseum
757:Bedrooms
655:thriller
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533:Bedrooms
366:MTV News
349:Ray-Bans
227:sadistic
62:Language
2397:July 9,
2336:July 9,
2284:July 9,
2063:July 9,
1995:July 9,
1903:Details
1741:Twitter
1530:July 9,
1046:Review
969:." The
784:Details
506:Details
436:stalked
379:tweeted
111:Print (
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2659:(2020)
2651:(2015)
2643:(2013)
2635:(2008)
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2565:(1994)
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2486:Novels
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