Is evil something you are? Or something you do?
So I reread American Psycho, Bret Easton Ellis' most challenging work. My initial experience with the novel was a disaster. Nothing, and I mean nothing, prepared me for the rhythm of his writing, oscillating from sublime to banal to horrific (although in his defense, most of the violence is implied rather than described). I was also terrified by the almost incomprehensible misogyny -- real misogyny, not the feminist complaint -- of Ellis' protagonist, 26 year old uberyuppie Patrick Bateman, who tortures and murders so many women in the novel that I eventually lost count. As the pace of his killing increases, I freaked out and skipped ahead to the final chapter, seeking some sort of neat denouement, only to be denied even that. From the first line of the book -- "ABANDON ALL HOPE YE WHO ENTER HERE" -- to the last -- "THIS IS NOT AN EXIT" -- Ellis jails you in a 399 page nightmare. There is no waking up.
A despicable read, I decided. And lost all respect for his work.
That was years ago, when I was playing rugby and most of my friends were campus feminists and I was drifting my way to a degree in women's history. I remember being deeply impressed by Naomi Wolf's indictment of the novel -- porn for rapists and murderers, basically -- and feeling smug in my borrowed dismissiveness. My lemming phase, I guess.
Now the first thing that strikes me is the title -- American Psycho. Ellis is reclaiming the psycho as a defining American archetype, inverting the cult of our beloved uniqueness, and simultaneously implying this dystopia could twist any citizen into a psycho. The book cover -- a stock yuppie headshot -- is a disingenuous copout. It should've been shiny foil reflecting you back to yourself.
Turn the pages and you plunge into a horrific satire propelled by Ellis' bottomless disgust with the social troposphere and capitalism's "greed is good" mantra. Life is a superficial pastiche of new restaurants and trendy clubs, hyphenated firms, pop music, amorality, celebrities, semen. Women are first names, hair color, big tits or not. Men are last names and little else. Clothing is fetishized until people are nothing but what they wear -- "four-button double-breasted linen suit by Redaelli, a cotton broadcloth shirt by Ascot Chang, a patterned silk tie by Eugenio Venanzi, loafers by Brooks Brothers..." Conversations do not occur. Everybody just talks past everybody else.
In this context Bateman is a work of creative genius, the perfect combination of hyperbole, plot device and narrative perspective. Ellis gives no biography, explaining him only as the mundane product of extraordinary privilege -- trust funds, prep schools and the Ivy League, sinecures at elite firms on Wall Street. In having everything -- and handed to him, no less -- you can only infer that he has nothing, no moral center, no sense of self, no capability to feel. Killing is his only means of proving to himself that he's actually alive, but you have to infer that too. He only observes, never explicates.
The intersection of Bateman and his rarified cosmos is a terrible place, but that's the whole point. Your horror deepens as you realize they're really one and the same evil, personalized in the character of Bateman, depersonalized in the sociocultural tableau. Superimposition becomes conflation. Bateman notes that his conscience and pity and hopes have disappeared ("probably at Harvard" Ellis adds gleefully) as if he'd become a personification of Reaganomic markets. He tries to cook and eat a girl and fails, because he's never prepared a meal in his life before. He kills indiscriminately and nobody notices, confesses his crimes and nobody cares. When you finally reach the end of the novel, you know how to answer the moral crux -- "Is evil something you are? Or something you do?" -- and you hear Bateman/America speaking:
So I reread American Psycho, Bret Easton Ellis' most challenging work. My initial experience with the novel was a disaster. Nothing, and I mean nothing, prepared me for the rhythm of his writing, oscillating from sublime to banal to horrific (although in his defense, most of the violence is implied rather than described). I was also terrified by the almost incomprehensible misogyny -- real misogyny, not the feminist complaint -- of Ellis' protagonist, 26 year old uberyuppie Patrick Bateman, who tortures and murders so many women in the novel that I eventually lost count. As the pace of his killing increases, I freaked out and skipped ahead to the final chapter, seeking some sort of neat denouement, only to be denied even that. From the first line of the book -- "ABANDON ALL HOPE YE WHO ENTER HERE" -- to the last -- "THIS IS NOT AN EXIT" -- Ellis jails you in a 399 page nightmare. There is no waking up.
A despicable read, I decided. And lost all respect for his work.
That was years ago, when I was playing rugby and most of my friends were campus feminists and I was drifting my way to a degree in women's history. I remember being deeply impressed by Naomi Wolf's indictment of the novel -- porn for rapists and murderers, basically -- and feeling smug in my borrowed dismissiveness. My lemming phase, I guess.
Now the first thing that strikes me is the title -- American Psycho. Ellis is reclaiming the psycho as a defining American archetype, inverting the cult of our beloved uniqueness, and simultaneously implying this dystopia could twist any citizen into a psycho. The book cover -- a stock yuppie headshot -- is a disingenuous copout. It should've been shiny foil reflecting you back to yourself.
Turn the pages and you plunge into a horrific satire propelled by Ellis' bottomless disgust with the social troposphere and capitalism's "greed is good" mantra. Life is a superficial pastiche of new restaurants and trendy clubs, hyphenated firms, pop music, amorality, celebrities, semen. Women are first names, hair color, big tits or not. Men are last names and little else. Clothing is fetishized until people are nothing but what they wear -- "four-button double-breasted linen suit by Redaelli, a cotton broadcloth shirt by Ascot Chang, a patterned silk tie by Eugenio Venanzi, loafers by Brooks Brothers..." Conversations do not occur. Everybody just talks past everybody else.
In this context Bateman is a work of creative genius, the perfect combination of hyperbole, plot device and narrative perspective. Ellis gives no biography, explaining him only as the mundane product of extraordinary privilege -- trust funds, prep schools and the Ivy League, sinecures at elite firms on Wall Street. In having everything -- and handed to him, no less -- you can only infer that he has nothing, no moral center, no sense of self, no capability to feel. Killing is his only means of proving to himself that he's actually alive, but you have to infer that too. He only observes, never explicates.
The intersection of Bateman and his rarified cosmos is a terrible place, but that's the whole point. Your horror deepens as you realize they're really one and the same evil, personalized in the character of Bateman, depersonalized in the sociocultural tableau. Superimposition becomes conflation. Bateman notes that his conscience and pity and hopes have disappeared ("probably at Harvard" Ellis adds gleefully) as if he'd become a personification of Reaganomic markets. He tries to cook and eat a girl and fails, because he's never prepared a meal in his life before. He kills indiscriminately and nobody notices, confesses his crimes and nobody cares. When you finally reach the end of the novel, you know how to answer the moral crux -- "Is evil something you are? Or something you do?" -- and you hear Bateman/America speaking:
| "Nothing was affirmative, the term "generosity of spirit" applied to nothing, was a cliche, was some kind of bad joke. Sex is mathematics. Individuality no longer an issue. What does intelligence signify? Define reason. Desire -- meaningless. Intellect is not a cure. Justice is dead. Fear, recrimination, innocence, sympathy, guilt, waste, failure, grief, were things, emotions, that no one really felt anymore. Reflection is useless, the world is senseless. Evil is its only permanence. God is not alive. Love cannot be trusted. Surface, surface, surface was all that anyone found meaning in." |
