American Psycho

This article is about the book. For the film based on the book, see American Psycho (film). For the album by The Misfits, see American Psycho (album). For the single by Treble Charger, see Wide Awake Bored.

American Psycho

File:AmericanPsychoNovel.jpg American Psycho book cover
Author	Bret Easton Ellis
Language	English
Genre	Novel
Publication date	1991
Publication place	USA

American Psycho is a 1991 novel by Bret Easton Ellis; it is a first person narrative describing episodes in the life of a wealthy young Manhattanite and self-proclaimed serial killer. The novel's graphically violent and sexual content was widely commented on at the time of its release. A film adaptation was released in 2000 to mostly positive reviews.

Synopsis

Template:Spoiler Set mainly in Manhattan in the late 1980s (perhaps 1987 or 1988), American Psycho is a first person account of roughly two years of Patrick Bateman's life. Bateman, 26 years old at the beginning, narrates his serial killer antics — although the reliability of his narrative purposely appears ambiguous throughout the novel, and most so towards the end.

Bateman, a graduate of Philips Exeter Academy and Harvard (Class of '84), comes from a privileged background, and works as a Wall Street banker at the fictional firm of Pierce & Pierce and lives in a very expensive Manhattan apartment. He is thus the embodiment of 1980s yuppie culture.

File:AmericanPsychoBook.jpg

A recent reprinting of the book.

The stream-of-consciousness narrative describes his conversations with colleagues — in bars, cafes, his office, and nightclubs — and satirizes the purportedly vain, empty world of Manhattan yuppies.

Bateman's narrative revolves around his murderous activities, and includes buying and returning video tapes, making and attempting to make reservations at trendy restaurants, the pursuit of cocaine in dance clubs, dates with various women, rivalries with colleagues, parties with vacuous associates, the avoiding of Luis (a homosexual non-love interest), rivalry with Bateman's own brother, and pointless disputes at restaurants and bars over pop culture and fashion trivia.

Bateman dates several women, including his steady girlfriend Evelyn, but has no deep feelings for anyone, and seeks sex with whichever women he wants. He spends excessive time perfecting his physical appearance, and persistently tries to elevate himself above colleagues. Between events in his social life, Bateman murders and tortures victims. But, in spite of his confessions, he integrates successfully without the confessed murders tainting him. No matter how sincerely he insists on his identity as a psychopathic murderer, no one listens to him, or believes what he tells them.

In the end, Bateman reflects on the futility of his actions, and descends into despair. He cannot convince his own attorney of his murderous nature, and instead, is mocked for having made up an unbelievable story. Such is his failure that even the thought of killing fails to arouse any feeling. The final image in the book is of a sign in a bar, declaring, 'This Is Not An Exit'.

Rampage

Bateman kills and tortures many beautiful, young women, whom he calls "hardbodies", usually younger than he is; his ex-girlfriend Bethany and prostitutes are among his victims. For example, he coerces two women into having lesbian sex, eventually killing and torturing them.

Bateman occasionally kills men. On a ruse, Bateman has dinner with Paul Owen, or a man he mistook for Paul, and kills him in his apartment. Bateman also murders several random people he chances upon, mostly the homeless and unemployed, whom he loathes, calling their kind the "genetic underclass".

There is a wild police chase near the end of the book, in which he shoots a taxi driver, a policeman, a nightwatchman, and a janitor.

Bateman's personality

Main article: Patrick Bateman

Prima facie, Bateman exemplifies the image of the successful Manhattan executive: he is well-educated, wealthy, unusually popular with women, abreast with cultural trends, belongs to a prominent family, has a high-paying job, and lives in an upscale, chic apartment complex. Thus, Bateman passes for a refined, intelligent, thoughtful young man. But his alter-ego contrasts starkly with his public persona; under this guise, he murders and tortures his victims, engages in violent sex, cannibalizes his victims, and sexually penetrates body parts of his corpses.

Bateman is extremely style-conscious, and appears an expert in fashion and high-end consumer products. In his narrative he frequently describes his and other people's possessions in exhaustive detail, even noting trivial articles like pens, socks, and pocket squares; he also describes his own wardrobe and accessories, including the material of which they are made, the name of the designer, and the store where they were purchased. Bateman incisively answers his friends' and co-workers trivial 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 or tie bar.

Bateman has a sinecure job which he feels no need to apply himself to because of his family's wealth and influence. Envy of his peers, in his family's business successes and the colossal fortunes, among other things, runs throughout the novel. In one notable scene, characters compare business cards at a cafe, and Bateman panics when he sees a friend's business card clearly superior to his — because it includes a watermark. Nevertheless, Bateman is supreme in his own world; he usually turns up to work late — sometimes by more than an hour — and indulges in long lunches.

Themes and symbolism

Violence is the dominant theme. There are extravagant scenes of murder; for instance, in one scene, Bateman inflicts a series of axe blows to Paul Owen's head, yet the man takes five minutes to die. In another scene, Bateman's maid, when she is cleaning Bateman's apartment, is strangely unperturbed by the clearly visible blood from a bloody murder. There are other fantastical scenes in the book; in the closing chapter, for instance, Bateman says a park bench follows him home and an ATM orders him to feed it cats.

A recurring irony in American Psycho is that, despite the time, money, and effort the characters expend to enhance their personal appearance and stand out amongst their peers, they often resemble each other, and are mistaken for other people. Bateman himself is often mistaken by wrong names throughout most or all of a conversation. Paul Owen repeatedly mistakes Bateman for a fellow colleague, Marcus Halberstam, even while Bateman takes him out to dinner, brings him back to his apartment, and murders him.

Several leitmotifs appear in the novel and film. First, there are recurring references to a Broadway production of Les Misérables. Second, there is Bateman's urge to "return some video-tapes", which are graphic, paraphilia themed pornography; the 1984 Brian De Palma film Body Double, in which a woman is killed with a power drill, is mentioned most often in the book. Third, Bateman frequent refers to the "Patty Winters Show", a fictional, sensationalistic daytime talk-show, whose topics either exploit its guests or are simply bizarre, like a multiple personality patient with names like "Lambchop". Gradually, the guests and topics of the program become increasingly unreal, to the point that Patty Winters is described as interviewing a Cheerio.

The satire seems to resonate with the common theme of 1980s decadence, which is associated with avarice and worldly extravagance. Bateman has no personality of his own, which seemingly typifies the "plastic" aspect of the 1980s. The book often draws parallels between Bateman and his peers, who are obsessed by money, suggesting his sadism and the power of money are both likewise evil.

Controversy

• The book was originally to have been published by Simon & Schuster in March 1991, but the company decided to back off the project due to the novel's content. Vintage Books ended up buying the rights to the novel, and published an edited version of Ellis' original manuscript. Some say the book was not changed all that much, while others have contended that the version that is in circulation today is significantly toned down from Ellis' original work.
• Bret Easton Ellis received numerous death threats and hate mail after the publication of American Psycho. [1]
• Feminist activist Gloria Steinem was among those opposed to the release of Ellis' book because of its portrayal of violence towards women. Steinem is also the stepmother of Christian Bale, who portrayed Bateman in the film adaptation of the novel. This irony is mentioned in Ellis' mock memoir Lunar Park.
• In Germany the book was deemed harmful to minors, and hence sale and marketing were severely restricted from 1995 to 2000.
• In Australia and New Zealand, the book is sold shrink-wrapped and is classified R18 under Censorship law and may not be sold to those under 18 years of age.

Trivia

• The book has a cameo appearance by actor and film star Tom Cruise. Patrick Bateman shares an apartment block with Cruise, and encounters him in the building's elevator.
• Real-life Canadian serial killer Paul Bernardo was a huge fan of the novel. A copy of the book was found in the bedroom of the home in St. Catharines that he shared with his wife, Karla Homolka. Controversy was generated over whether Mr. Bernardo committed his crimes in response to his fascination with the book's events. However, the book's main character, Patrick Bateman, operated on his own, whereas Mr. Bernardo's wife played an active role in helping him commit his real-life sex crimes and murder.
• Bateman claims that the saddest song he had ever heard was 'You Can't Always Get What You Want' by The Beatles. However it was musical rivals The Rolling Stones who sang the song. He also incorrectly identifies a Ronettes song ("Be My Baby") as a Crystals tune.
• The book features an appearance by Patrick Bateman's brother, Sean Bateman, who was one of the central characters in Bret Easton Ellis's previous book, The Rules of Attraction (1987). Patrick Bateman made a brief appearance in Rules and narrated one chapter, and both Bateman brothers appear briefly in another Ellis novel, Glamorama (1998). The book also features a cameo from Paul Denton, who shared a love affair with Sean Bateman in Rules. Patrick notes how Paul stares oddly at him throughout their encounter, perhaps alluding to a recognized similarity to Sean.
• When Patrick appears in Glamorama, the narrator (Victor Ward) notices that he has "weird stains on his lapel." This may suggest that the stains are blood and Patrick didn't imagine the murders. Conversely, because of his frequent habit of masturbating, they can also be interpreted as semen stains, a validation of the theory that the events are only set up in Bateman's mind.
• When Christian Bale was cast as Batman in Batman Begins, he was dubbed by some as "Patrick Batman" due to his role in this film.
• The book includes two passages which are very similar to passages in Ellis's first novel, Less Than Zero. At page 361, the conversation between Patrick and Courtney nearly repeats a conversation from Less Than Zero page 58 between Clay and Blair. The conversation between Patrick and his mother on pages 365-66 nearly repeats a conversation between Clay and his mother at pages 18-19 in Less Than Zero.
• Notably, Pierce & Pierce (the firm Bateman works at) is also the firm of another fictional banker of the late eighties, Sherman McCoy, of The Bonfire of the Vanities by Tom Wolfe.
• The name of the real estate agent that Patrick encounters, 'Mrs. Wolfe', may be seen as a another hidden reference to Tom Wolfe.
• In a case of intertextuality, the character of Alison Poole first appeared as the protagonist of fellow literary Brat Pack member Jay McInerney's 1988 novel Story of My Life.
• In another case of intertextual borrowing, the artist 'Stash' may also be the same character from fellow literary Brat Packer Tama Janowitz's Slaves of New York.
• Patrick Bateman's address at 129 West 81st Street is the same building that Seinfeld characters Jerry and Kramer live in, according to the third-season episode "The Alternate Side".
• In the Showtime original series Dexter, serial killer Dexter Morgan uses "Patrick Bateman" as an alias.
• Welsh rock group, the Manic Street Preachers, wrote and recorded a song entitled "Patrick Bateman" in 1992 (Manics' lyricists Richey Edwards and Nicky Wire being fans of Ellis's book). The Manics originally intended for the song to be a single, but instead it ended up as a B-side on their 1993 single, "La Tristesse Durera (Scream to a Sigh)." Interestingly, the music score of the film version of American Psycho was written by another Welsh musician, John Cale, and the lead role of Patrick Bateman was played by Christian Bale, who is Welsh.
• Ellis goes into great detail when describing the clothing in American Psycho; he has admitted that he himself is not fashion-conscious but puts in ridiculous amounts of research to get the facts right. In a recent interview he explained how he could write in such detail and how he played a little trick on his readers:

"Research. I don't like clothes. I wrote two novels, one around the fashion industry and one around clothes whores, and it was all research. It was looking through GQ and seeing what the guys on Wall Street were wearing, since every other pictorial during those two years had guys hanging out in front of various office buildings downtown. Also, what a lot of people don't realize, and what I had a lot of fun with, is that if you really saw the outfits Patrick Bateman describes, they'd look totally ridiculous. He would describe a certain kind of vest with a pair of pants and certain kind of shirt, and you think, 'He really must know so much,' but if you actually saw people dressed like this, they would look like clowns. It was a subtle joke. If you read it on a surface level and know nothing about clothes, you read American Psycho and think, 'My God, we're in some sort of princely kingdom where everyone just walked out of GQ.' No. They look like fools. They look like court jesters, most of them." [2]

International Standard Book Numbers (ISBNs)

• ISBN 0-671-66397-6 (hardcover, 1991)
• ISBN 0-679-73577-1 (paperback, 1991)
• ISBN 84-406-3712-8 (paperback, 2000)
• ISBN 2-02-025380-1 (paperback, 2000)
• ISBN 3-462-02261-X (paperback, 2000)
• ISBN 0-330-48477-X (paperback, 2000)
• ISBN 0-330-49189-X (paperback, 2002)

See also

• Robert Louis Stevenson's The Strange Case of Dr Jekyll and Mr Hyde (1886), a short novel about a kind and intelligent physician who turns into a psychotic monster after imbibing a drug intended to separate good from evil in a personality.
• the novels of Stewart Home, for example Cunt (1999).
• Hannibal Lecter - Another fictitious villain who lives an amoral life of high culture.
• List of banned books.
• Aestheticization of violence.

External links

• Review of the novel
• Another take on the novel
• MESSIER, Vartan. "Pornography and Violence: The Dialectics of Transgression in Bret Easton Ellis's American Psycho." This chapter (in PDF), taken from "Canons of Transgression: Shock, Scandal, and Subversion from Matthew Lewis's The Monk to Bret Easton Ellis's American Psycho." Dissertation Abstracts International 43:4 (2005): 1085 (University of Puerto Rico, Mayaguez), provides an in-depth analysis of the novel.