| American Psycho | |
American Psycho UK issue cover |
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| Author | Bret Easton Ellis |
|---|---|
| Cover artist | Marshall Arisman |
| Country | USA |
| Language | English |
| Subject(s) | brutal thriller |
| Genre(s) | Transgressional fiction, Novel |
| Publisher | Vintage Books, New York |
| Publication date | 1991 |
| Pages | 568 |
| ISBN | [[Special:Booksources/See Below|See Below]] |
American Psycho (1991) is a psychological thriller and satirical novel by Bret Easton Ellis. The story is told in the first person by fictitious serial killer and Manhattan businessman Patrick Bateman. The graphic violence and sexual content generated much commentary at the novel's release. A film adaptation was released in 2000 to mostly positive reviews;[1] it was heavily edited and did not convey the graphic sex and violence scenes as literally as in the novel. That same year, Ellis approved emails collected under the title "AmPsycho 2000 Emails" that were sent from main character Patrick Bateman to his therapist.[2] Users could sign up to receive these emails at Universal's website for the movie.
Contents |
Set in Manhattan and beginning on April Fools' Day 1987, American Psycho spans roughly two years in the life of wealthy young investment banker Patrick Bateman. Bateman, 26 years old when the story begins, narrates his everyday activities, from his daily life among the upper-class elite of New York to his forays into murder by nightfall.
Bateman comes from a privileged background, having graduated from Philips Exeter Academy, Harvard (class of 1984), and then Harvard Business School (class of 1986). He works as a vice president at a Wall Street investment company and lives in an expensive Manhattan apartment on the Upper West Side. He embodies the 1980s yuppie culture. Through present tense stream-of-consciousness narrative he describes his conversations with colleagues in bars and cafes, his office, and nightclubs, satirizing the shallow vanity of Manhattan yuppies.
The first third of the book contains no violence (except for subtle references apparent only in retrospect), and is simply an account of what seems to be a series of Friday nights, as Bateman documents traveling with his colleagues to a variety of nightclubs, where they snort cocaine, drink a variety of alcoholic beverages, critique fellow clubgoers' clothing, trade fashion advice, and question one another on proper etiquette.
Beginning with the second third of the book, Bateman begins to describe his day-to-day activities, which range from committing brutal violence to such mundanities as renting videotapes and making dinner reservations. Bateman's stream of consciousness is occasionally broken up by chapters in which Bateman directly addresses the reader in order to critique the work of 1980s musicians, specifically Genesis, Huey Lewis and the News and Whitney Houston. His passion for blandness sits alongside his attention to sartorial detail, his desire to appear normal and the lurid detailing of sex and violence. The effect is to create a world of surfaces, where Bateman seems to exist with no internal life whatsoever, even though he is the narrator.
In addition to describing his daily life, Bateman also speaks about his "love" life. He is engaged to a fellow yuppie named Evelyn, though he possesses no deep feelings for anyone; additionally, he frequently solicits sex with attractive women ("hardbodies"), manipulates his secretary's feelings for him, and tries to avoid the attention of Luis, a closeted homosexual colleague who confesses his love for Patrick. Bateman also documents his relationship with his estranged family, including his senile mother, whom he visits to present with a pair of Ray-Ban Wayfarers while she lies semi-comatose in a nursing home, and his younger brother, a hedonistic college dropout (Sean Bateman, one of the protagonists from Ellis's earlier novel The Rules Of Attraction).
As the book progresses, Bateman's control over his violent urges deteriorates. His murders become increasingly sadistic and complex, progressing from stabbings to drawn out sequences of torture, rape, mutilation, cannibalism, and necrophilia. His mask of normality appears to slip as he introduces stories about serial killers into casual conversations, and confesses his murderous activities to his co-workers. In every case the context for his "confessions" seems to override the information he is imparting. People react as if Bateman is joking with them, appear not to hear him, or otherwise completely misunderstand him ("murders and executions" is mistaken for "mergers and acquisitions"). As the book nears its conclusion, Bateman describes incidents such as seeing a Cheerio interviewed on a talk show, being stalked by an anthropomorphic park bench, and being ordered, by an ATM, to feed it a kitten.
These incidents illustrate Bateman's heavily medicated mental state and draw into question whether he has actually committed any of the murders he has described. There is the suggestion from other characters that Bateman is a shy, perhaps vulnerable man. In his most emotionally revealing outburst as he dumps Evelyn, he talks about his "blocked needs". It remains unclear whether he is referring to suppressed homosexuality, or his inability to give and receive love, or both. Towards the end of the novel, he visits Paul Owen's apartment, where he has been stockpiling mutilated bodies; to his amazement, Bateman enters a perfectly clean, refurbished apartment with no trace of decomposing bodies. He runs into a real-estate agent showing the apartment to prospective buyers. In what is probably the most ambiguous exchange in the entire book, the estate agent asks him if he saw the advert in the Times. When Bateman pretends that he did, the estate agent says that there was no advert, and that he should leave and not cause any trouble.
In the final chapter Bateman confronts Harold Carnes, a colleague on whose answering machine he has previously confessed all his crimes; Carnes, who mistakes Bateman for someone else, is amused at what he considers to be a good joke. But he reproaches Bateman for laying the list of crimes at the door of Bateman, who he says is far too much of a coward to have committed such acts. Challenged by Bateman on the disappearance of Paul Owen – a colleague whom Bateman hacked to death out of professional jealousy – Carnes unexpectedly claims that he had lunch, in London, with Paul Owen a few days previously. The ambiguity is heightened by the fact that mistaken identity is a recurring theme throughout the book. Characters are consistently introduced as other people, or argue over the identities of people they can see in restaurants or at parties. Whether any of the crimes depicted in the novel actually happened, or were simply the fantasies of a delusional psychotic, is deliberately left open. The reader is left with a sense of uncertainty about what is real and who is a reliable witness, creating an acute sense of Bateman's isolation.
The incipit of the book has Bateman staring at a graffiti on a Chemical Bank building, reading Abandon all hope ye who enter here; this phrase appears over the gates of hell in the Divine Comedy. The book ends with a scene similar to its beginning, as Bateman sits in a bar, staring at a sign that reads "THIS IS NOT AN EXIT". The opening and closing phrases summarize Bateman's life as a living hell he cannot escape.
On first appearance, Bateman exemplifies the image of the successful Manhattan executive; he is well-educated, wealthy, unusually popular with women, abreast of cultural trends, belongs to a prominent family, has a high-paying job, and lives in an upscale, chic apartment complex. Bateman passes for a refined, intelligent, thoughtful young man. Yet, contrary to his persona, he tortures and murders victims, practices violent sex, cannibalizes his victims, and sexually penetrates body parts of corpses. For transportation, Bateman uses personal limousines to search for suitable victims in the streets.
Bateman is extremely style-conscious, and appears an expert in fashion and high-end consumer products. In his narrative, he obsessively describes his and other people's possessions in exhaustive detail, focusing particularly on attire, and even noting articles like pens, and pocket squares. He has a general tendency to pay more heed to the designer, place of purchase, and style of the items he describes, often ignoring the textile type or color. Bateman incisively answers his friends' and co-workers' queries, authoritatively explicating the difference between various types of mineral water, which tie knot is less bulky than a Windsor knot, and the proper way to wear a cummerbund, pocket square, and tie bar.
Bateman's employment at Pierce & Pierce is apparently unnecessary. His father owns most of the business, which is revealed during a conversation between Patrick and his ex-girlfriend. Upon questioning, the sole justification for still working is, in his own words, "I... want... to... fit... in." Because he doesn't need to work, he is supreme in his own world; he usually comes to work late—sometimes by more than an hour—and indulges in long lunches. Despite these advantages, Bateman's envy of his peers runs throughout the novel. In a scene in which characters compare business cards, Bateman panics when he realizes a friend's card is superior to his because it includes a watermark.
American Psycho generated much controversy for Ellis's graphic description of Bateman's murders. Many include some form of sexual abuse or torture by Bateman, in which graphic language is used to describe the scene. Many of the murders themselves involve various forms of mutilation, most including genital mutilation. Ellis also provides graphic descriptions of Bateman examining the internal organs of some of his victims after murdering them, as well as scenes in which Bateman cooks and eats human body parts. Bateman at one point says that he tries to "make meat loaf out of the girl but it becomes too frustrating a task and instead I spend the afternoon smearing her meat all over the walls, chewing on strips of skin I ripped from her body". Others include Bateman's murder of a young boy at the New York City Zoo. These acts of brutality are seamlessly integrated into Bateman's daily life so that the moral implications become irrelevant; a technique believed to have been used by Bret Easton Ellis to portray society as desensitized.