As film adaptations of books go, the movie American Psycho released in is fairly spot-on. Set during the Wall Street boom of the late s, the book is both a satire and a thriller at the same time. Naturally, some critics overlooked the satirical nature of the book in favor of its study of a serial killer.
His first draft of American Psycho left all the grisly scenes until last, to be added in later. Inin conversation with Jeff Baker, Ellis commented: He did not come out of me sitting down and wanting to write a grand sweeping indictment of yuppie culture.
It initiated because of my own isolation and alienation at a point in my life.
I was living like Patrick Bateman. I was slipping into a consumerist kind of void that was supposed to give me confidence and make me feel good about myself but just made me feel worse and worse and worse about myself.
That is where the tension of American Psycho came from. It wasn't that I was going to make up this serial killer on Wall Street.
It came from a much more personal place, and that's something that I've only been admitting in the last year or so. I was so on the defensive because of the reaction to that book that I wasn't able to talk about it on that level.
Bateman, in his mids when the story begins, narrates his everyday activities, from his recreational life among the Wall Street elite of New York to his forays into murder by night.
Through present tense stream-of-consciousness narrative, Bateman describes his daily life, ranging from a series of Friday nights spent at nightclubs with his colleagues—where they snort cocainecritique fellow club-goers' clothing, trade fashion advice, and question one another on proper etiquette —to his loveless engagement to fellow yuppie Evelyn and his contentious relationship with his brother and senile mother.
Bateman's stream of consciousness is occasionally broken up by chapters in which he directly addresses the reader in order to critique the work of s pop music artists.
The novel maintains a high level of ambiguity through mistaken identity and contradictions that introduce the possibility that Bateman is an unreliable narrator. 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.
Deeply concerned with his personal appearanceBateman gives extensive descriptions of his daily beauty regimen. The question of whether any of the crimes depicted in the novel actually happened or whether they were simply the fantasies of a delusional psychotic is only perpetuated further by the cinematic adaptation.
Bateman's control over his violent urges deteriorates. His murders become increasingly sadistic and complex, progressing from simple stabbings to drawn-out sequences of rapetorturemutilationcannibalismand necrophiliaand his grasp on sanity begins to slip.
He introduces stories about serial killers into casual conversations and on several occasions openly confesses his murderous activities to his coworkers, who never take him seriously, do not hear what he says, or misunderstand him completely—for example, hearing the words "murders and executions" as "mergers and acquisitions.
This narrative episode sees the first-person perspective shift to third-person and the subsequent events are, although not for the first time in the novel, described in terms pertaining to cinematic portrayal.
Bateman flees on foot and hides in his office, where he phones his attorney, Harold Carnes, and confesses all his crimes to the answering machine. Later, Bateman revisits Paul Owen's apartment, where he had earlier killed and mutilated two prostitutes, carrying a surgical mask in anticipation of the decomposing bodies he expects to encounter.
He enters the perfectly clean, refurbished apartment, however, filled with strong-smelling flowers meant, perhaps, to conceal a bad odor. The real estate agent, who sees his surgical mask, fools him into stating he was attending the apartment viewing because he saw an "ad in the Times " when there was no such advertisement.
She tells him to leave and never return. Bateman's mental state continues to deteriorate, and he begins to experience bizarre hallucinations such as seeing a Cheerio interviewed on a talk show, being stalked by an anthropomorphic park bench, and finding a bone in his Dove Bar.
At the end of the story, Bateman confronts Carnes about the message he left on his machine, only to find the attorney amused at what he considers a hilarious joke. Mistaking Bateman for another colleague, Carnes claims that the Patrick Bateman he knows is too much of a coward to have committed such acts.
In the dialogue-laden climax, Carnes stands up to a defiant Bateman and tells him his claim of having murdered Owen is impossible, because he had dinner with him twice in London just a few days prior.
The book ends as it began, with Bateman and his colleagues at a new club on a Friday night, engaging in banal conversation. The sign seen at the end of the book simply reads "This is not an exit.But I realised 'Bret Easton Ellis' was going to take over, and that I was more or less dead.
But I get it; he's the better story. The audience's collective notion of who I am is a much better. Mar 06, · A version of this article appears in print on March 6, , on Page C of the National edition with the headline: Bret Easton Ellis Answers Critics of 'American Psycho'.
Satire in American Psycho American Psycho by Bret Easton Ellis is a satiric look at the“American Dream,” as twisted by the uninhibited behavior of the ’s. American Psycho, a novel by Bret Easton Ellis, satirizes the apathy, narcissism, and emotional void of modern consumerist culture, through the metaphor of the psychopathic killer, Patrick Bateman, whom no one will believe is a killer, despite his repeated confessions.
Because Bateman is a rich, white, well-mannered, educated young man with a. This isn’t Donald Trump detailing his morning commute, this is Patrick Bateman – a vile construct from the mind of author Bret Easton Ellis as featured in his epochal novel, ‘American Psycho’.
Bret Easton Ellis (born March 7, ) is an American author, screenwriter, and short story writer. His works have been translated into 27 languages.
 He was at first regarded as one of the so-called literary Brat Pack,  which also included Tama Janowitz and Jay McInerney.