American Psycho [Kindle Edition]

Easton-Ellis' first person description of the development of a psychopath is nothing short of mind blowing and this fact alone makes American Psycho a great novel. Following the anti-hero Patrick Bateman through about a year of his life and aided by flashbacks to past events the reader is drawn ever more into the mindset of a killer and his normalisation and disassociation from the acts that he is committing. At the beginning of the book (where violence is only hinted at briefly), it is very easy to laugh at Bateman, his shallow life, appalling friends and fiancé and his assumption that happiness and wealth are one and the same thing. As the story develops one can almost feel pity for someone who is so clearly trapped in a life not of his choosing but which he is unwilling to leave for all the wrong reasons.

Bateman's increasingly violent behaviour and periods of psychosis characterise the middle of the book, but the author still finds room to add his own brand of dark humour to the situations he puts his star into. In the final section of the book we see Bateman develop into a full blown psychopathic monster, completely out of control and unable to repress the primal urges that are overcoming him.

That Easton-Ellis manages to achieve this whilst taking a sideways sneer at eighties yuppie culture AND providing an allegorical interpretation of what it means to be alive in modern day America is what makes this novel remarkable and ultimately an essential read.

My only complaint is that the novel is too long. Did the Huey Lewis and The News chapter really add anything to the plot, particularly after lengthy discussions on Genesis and Whitney Houston? Some of the later murders also seemed to add very little to the development of the character or the plot and one could argue were only added for pure shock value. (I'm thinking in particular of the murder of the escort girls and the rat chapter). This has the effect of making the last fifty to a hundred pages a bit of a chore, and dilutes the otherwise excellent ending.

Like Lunar Park this novel creeps up on you and doesn't necessarily leave you in a better place than when you started it. There is no happy ending and if you feel disgusted after 200 pages it is probably best to put the book down at this stage rather than put yourself through the last 150 pages which are far more graphic. If you found the humour in the film entertaining and didn't find the murders too gory then I would recommend this. If you have trouble dealing with misogyny or black comedy then it is probably best to do what most of New York's high society should have done and avoid Bateman altogether.

Well, what can I say about this book? I wouldn't say I was that disturbed by it, in the end, in part because I found the writing quite impenetrable and hard going so that I couldn't really get into the narrative.

It's a clever book; there's no doubt about that. You have to read it really carefully to get it, I think. Does Patrick Bateman commit any of the crimes he describes or does he just fantasise about it? They're pretty horrific scenes so either way, he fits the book's title. There are certainly enough inconsistencies to make you wonder, and I do find that clever. In fact, I find it a clever book all round but I just struggled so much with the delivery.

In essence, I couldn't say I'd truly recommend this book because I didn't find it very readable and, yet, at the same time I can't help thinking it is a modern classic because it did something with the unreliable narrator that hadn't really been done before. Even the major things that I object to in the book, like the constant detailed descriptions of clothes and food that slow everything down, I understand their necessity. Not a book I enjoyed but one that I respect.

I think it is a common and understandable mistake to assert that Patrick Bateman does not "actually" kill in the book, and to cite as evidence for this the fact that no one is reported missing after their deaths, and that people Patrick has supposedly killed are spotted at parties, etc.

In fact, this evidence is misleading. To take American Psycho as part of a major arc of fiction by Ellis, we see that in ALL of his books there are cases of identity-confusion, or in fact the total loss of individual identity altogether.

Even within American Psycho itself, Bateman is often mistaken for other people, and other people mistaken for Bateman or for other other people! This is simply because Ellis is satirising the fact that all 20-something Wall Street wannabe Yuppies in the 80s looked and sounded the same - they all aspired to the Gordon Gecko look (itself an image that started as satire and achieved aspirational iconic status much to its creator, Oliver Stone's, horror).

So when people tell Patrick they have seen his "victims" alive and well at restaurants after their supposed deaths, the suggestion is that they are truly dead, but will never be missed because they were never identifiable or memorable individually anyway. It is a soulless universe where lives are as interchangable as ties or handbags.

As I said, this continues a major theme in Brett Easton Ellis' other novels Less Than Zero and Rules of Attraction, where again people often claim to have seen characters in places we know they have no been because of this identity confusion (in these cases the blond, tanned, slim, muscular, vacant Californian pretty boys are the "clones").

This theme continues through Glamorama and into the wonderful short story collection The Informers, to the point where a father does not even recognise whether a figure through a window is his son, his son's boyfriend, or any one of a million such "boys".

Better evidence for Bateman's violence being as imaginary as his success is the mythical/movie-like escape from imminent police capture. This echoes Bateman's addiction to cheap action movies and cable TV shows, and shows his narcissism and self-aggrandisement in equal measure.

This is a great book, one of the true greats. That is why it is loved and hated so ferociously. And as a reviewer says above, if a book is so dark it forces you to feel repulsed or even look away, it has achieved a state very little art still can in our desensitised times. Power like that is very hard to achieve in print.