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American Psycho

American Psycho

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Unreliable narration in Bret Easton Ellis's American Psycho and Jeff Lindsay's Darkly Dreaming Dexter" (PDF) . it creates (here goes my generalization), as does all 'good art', the ineffable feeling only able to be expressed through that particular work.

Bateman makes little attempt to justify his actions, merely claiming that "this is the way the world--my world--moves". In contrast, the film has unanticipated moments which highlight the absurdity of situations brought on by Bateman. This film was not based on the novel or the original film, as its only connection with the original is the death of Patrick Bateman (played by Michael Kremko wearing a face mask), briefly shown in a flashback. He has more and more breaks from reality, and now sometimes talks about himself in the third person. On the page, the scene falls relatively flat because the details that make the film scene so wonderfully specific in its satire are crowded out by an avalanche of similar details about clothes, electronics, and consumer goods.

deference in this otherwise supremely arrogant and evil man is a Gordon Gekko-like exemplar of cheesy 1980s greed, the crazy-haired TV clown who is currently the most talked about man in the country: Donald J. White becomes nearly unreadable when Ellis finally reaches the rise of Donald Trump, whose freewheeling amorality Ellis compares, favorably, to Heath Ledger’s Joker in The Dark Knight. However, as Patrick Bateman, the narrator of American Psycho, leads us down his peculiar path of excess, there will come a point at which we think that he is making things up. Like his hero Joan Didion, Ellis believes that style is everything; what a shame he has written a book with so little of it. However, that is not where the book ends and it's the second half of the book that, while equally well written, was arguably the most disturbing writing I've ever read.

The book is noteworthy and important more than it’s good, and the manic, non-stop pop-culture references, blurring between reality and fantasy, and postmodern elements found in it would be realized far more artfully and entertainingly by other books, television shows, movies, and music in the years to follow, including the film version of American Psycho, which took the book’s ugly clay and transformed it into a gorgeous sculpture of smart-ass cinematic pop art.now, i don't really wanna defend the book against these charges; more fun to wonder what those who view american psycho as woman-hating or anti-feminist make of the dozens (hundreds? Despite critics arguing over the aesthetic properties of the novel from rapid patterns and transitions of self-consciousness and murder, Serpell claims critics have overlooked the key themes and motives of the novel. Characters are consistently introduced as people other than themselves, and people argue over the identities of others they can see in restaurants or at parties. There is a lack of detail with Bateman in this image, we only have a silhouette which could represent that he’s out of touch with normality, and has lost touch with himself. For instance, he mentions a serrated knife in his pocket, and masturbating to a movie scene in which a woman is murdered.

Bateman is compelled to identify the designer, style, and features of the clothes of everyone he encounters. Red tends to be known as a colour which represents danger, which is highly appropriate for Patrick Bateman. During the trial of Canadian serial killer Paul Bernardo, a copy was discovered in Bernardo's bedroom.In a 2014 appearance on the WTF with Marc Maron podcast, Ellis stated that Bateman's narration was so unreliable that even he, as the author of the book, did not know if Bateman was honestly describing events that actually happened or if he was lying or even hallucinating. But his secondary — and still very substantial — crime is that he’s terribly dull, a man without a soul, with a festering sickness where his conscience should be. Bateman’s girlfriend, Evelyn, who also works in finance, has prepared expensive sushi for the evening. Upon arriving at a very high-end restaurant where Patrick and his friends will spend an exorbitant amount of money (and barely eat any of their food), Patrick casually narrates for us: Outside Pastels Tim grabbed the napkin with Van Patten’s final version of his carefully phrased question for GQ on it and tossed it as a bum huddling outside the restaurant feebly holding up a sloppy cardboard sign: I AM HUNGRY AND HOMELESS PLEASE HELP ME.



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