Showing posts with label bret easton ellis. Show all posts
Showing posts with label bret easton ellis. Show all posts

Thursday, 5 May 2011

THIS IS NOT AN EXIT

Today I handed my dissertation in:

‘THIS IS NOT AN EXIT’

An exploration of the themes of gender, alienation and consumer culture in Blank Fiction texts American Psycho, Fight Club and Generation X.

A Research Project presented as part of the requirement for the degree of B.A. (Hons) English Literature (Specialist).


For the past few weeks, almost my entire life has existed around that essay. Around American Psycho and Fight Club and Generation X and gender and consumerism and alienation. Knowing that I will never again have to flip through Generation X attempting to find a fitting quote as to why the novel promotes the idea of escape from a consumerist society is the most major relief. But whilst actually having the 51-page essay bound and handed in was terrifying - it signifies a very near end to my course and also a huge chunk of my final mark so if I did poorly it's going to really pull my mark down - it was also one of the most gratifying things I have ever experienced. To have laboured over something and thought about something for so long and to finally have it there, finished, in front of you, was an oddly touching moment for me. Kind of pathetic, I know, but the topic I wrote on was something I really cared for and felt strongly about so it meant a lot to me. Fingers crossed now that the pain and (literally) sleepless nights and unpaid days from work and back ache from carrying sacks of books to and from the library and possible soul-poisoning from staring at my laptop for so many hours on end will all be worth it (and gets me at least a 2:1).

Tuesday, 27 July 2010

Inspire #4

Photos from: A Collection of Inspiration, and various other places that I have forgotten.

Monday, 26 July 2010

Us and Him

Left hand seats, front row, two dark-haired girls looking right. That's me and Hayley. Front and centre - that's Bret Easton Ellis. WHAAAT.

Friday, 23 July 2010

23.07.10

Right now, I am obsessed with pictures of hands, nice hands, and this:

Another thing: today is the one week anniversary of the day that I met Bret Easton Ellis. I am still feeling enlightened by the experience. The other day I stared at the photograph by my bed and I just cried.

Monday, 19 July 2010

This is difficult to comprehend. An Ellis story...with a happy ending?

Ok, so it is kind of a happy ending, but it was enough to bring tears to my eyes (not least of all because oh, I have met Bret Easton Ellis. Have I mentioned that?)

I found this short story on the site Nowness, and I think it was written for Piaget for the release of their new watch. Or something. It's beautiful, anyway.

' “It’s my birthday,” was the first thing he said to her at the party in San Diego, and later that night in his motel room she talked about all the things that moved her. They dated for about a year, starting that summer. And, like he did in all of his relationships, he immediately noticed his suspicions and couldn’t let them go.

For example: the gifts she had given him that Christmas, two days before she left LA to see her family in the midwest, seemed exotic to him, more expensive than what somebody who managed a restaurant could actually afford—the Piaget watch; the pearl cufflinks that he would never wear. And there were always flowers and gift certificates and tickets to concerts.

Her desire seemed real—“It is real,” she stressed when he confronted her—so why did he feel that he had become duped this time? Why did this always happen? Who was controlling the narrative?

The inevitable break-up kept replaying itself over a series of weeks at the end of that spring, and yet they kept coming back together—his insistence, her reluctance—until, exasperated, she finally ended it. “I don’t want to talk to you ever again,” he told her.

After the shock subsided he realized: she had met someone else. He realized: when they’d been together she had probably hooked-up with several other men. He realized: his suspicion about this had probably hit him a couple of months after she had halfway moved into his apartment. But he only realized this now: after she had left.

He realized: it had always been casual for her, despite the attention and the gifts and the bragging to her girlfriends about him. He realized: she did not share the same desire.

She wasn’t a bad person, he kept telling himself––it was no one’s fault. But then the year went dark and the world of numbness and pain (he had never felt anything like it) overwhelmed him. This had happened before, but never in such a savage way.

Everything kept moving more slowly until time stopped. Real despair. He thought he had experienced it before, but during that bleak year he realized he had felt nothing like it, that up until now he had been spared.

He thought about the weekends they spent up the coast—but they were now manufactured illusions that he realized they had both created. Everything about those weekends now seemed fake: the “surf,” the “dunes,” the aerial shots of the convertible driving up Interstate 1 in a slow-motion spiral.

But then the unreality was always so much more beautiful to him than the reality. “Isn’t that always the case,” he murmured to himself.

At first he avoided her Facebook page; but then it seemed as if he was never not looking at it, searching for clues through the pictures she had posted. What was she doing at a shooting range? Why was she on a beach in Palmilla? When had she bought the Golden Retriever? One page led to another page and then to another, and then it was four o’clock in the morning and the bottle of wine had been finished––but it didn’t matter because he couldn’t really sleep anyway.

He hated every movie he saw that year. He could barely concentrate on novels. The saddest National songs were all he could listen to. The worst thing: his suffering didn’t touch her.

And the suffering was acutely physical—the stress, the migraines. He could actually feel something entering his heart: it was a dull blade, it was a razor, it was a wire. It was the deep slice he kept feeling in the middle of his chest.

He fought the pain until he finally surrendered to it and drifted with it, letting the pain take him where it wanted him to go. He made a list of all the things he would never miss about her. And then he was embarrassed. And then he made another list.

He realized both of them were so controlling that, instead of simply getting to know each other, they had crafted the relationship and built it according to each other’s needs. It was her fault, too, he kept promising himself.

He traveled a lot that year, but time zones and calendars and anniversaries, his birthday—it all melted away into a hard confusion. What had happened between them could never be mended. It was simply too big. Everything became harder: travel, work, sleep, driving––concentrating on other women he was out with.

He thought about moving; leaving the city. She still lived there and was routinely sighted by friends. He was both saddened and delighted when one of those friends mentioned that she didn’t look so good anymore: she had “gained weight”; she had “done something to her hair”; she was “drunk at a club”; she “probably missed him” because the guy she was with was a douche.

He had even glimpsed her once at The Sunset Tower and had bolted the business dinner, suggesting to the table that they go elsewhere, making up an excuse by pretending to look at his iPhone and telling the table he had mistakenly double-booked at another restaurant.

“Don’t look back,” he kept telling himself. But where was the logic in that? Why not look back? Why was it so hard to forgive her? Why was it always so hard to forgive her? Everything failed him. How had he become so afraid of her?

His friends didn’t want to hear about it anymore and gently tuned him out when he mentioned her name. But mentioning her name had become an addiction and he couldn’t stop himself. The friends stopped listening.

They hadn’t seen each other in over two years. They met in a restaurant on Melrose. He had broken down and called her. After he hung up he almost instantly regretted it.

She sat across from him, apparently eager, but he realized it didn’t matter: he no longer trusted her. She told him that he never really had, and that was the problem. He looked away, impatient.

But he listened to her: the apologies, the mistakes, how lost she had been.

Finally, he pretended he was late for a meeting. He found his voice and it was unwavering. “What time is it,” he asked.

She didn’t say anything. She just smiled. The moment began clarifying itself.

“Look at your wrist,” she said softly.He was wearing the watch she had given him that Christmas.

Neither one of them knew it then, but they would be married in two years.

When she took his hand in that restaurant and asked if he would forgive her and if maybe that could start over, he said yes. But he also realized that he was the type of man who had always believed that the memory of the past helped to write the future.

So: this time he would have to rewrite the past. '

Inspire #2


Saturday, 17 July 2010

You Sound Like You're From Laarrndaarrn

Aside from meeting Bret Easton Ellis, Hayley and I also had a grand day out in London. We: navigated the tube during early morning rush hour; found a market that is possibly even prettier than Convent Garden; went in a pub where the Queen Mother has pulled a pint; had lunch in Leicester Square; saw a series of Andy Warhol paintings in the Portrait Gallery; saw all the greats in the National Gallery (Van Gogh, Monet, Degas, Turner); dipped our hands in the fountains at Trafalgar Square; walked up Whitehall; made a Queen's Guard laugh - and talk!; were within 30 minutes of being in exactly the same place as Jared Leto (goddammit - so close); saw Buckingham Palace at sunset; got to our train home on time.
I'm wearing vintage hat, Accessorize sunglasses, primark jacket, topshop dress, vintage boots.
Hayley's wearing: Ray-Bans, vintage dress, belt unknown, New Look shoes.

This is not an exit.

And so my life crashes back down from yesterday's unimaginable highs, and I find myself sitting here, contemplating on how I can possibly explain how perfect yesterday was to anyone who might read this, but the words are simply failing me. I say 'words', but I really mean 'eloquent words', because I don't think that OhMyGodBretEastonEllisgavemeahugohmygodzzzzwowowwowwhatthefuckiamcryingwithjoy is really very fitting for a student of English Literature.

But that is how I am feeling right now.

Because yesterday, 16th July 2010, I went to London, and I met my very favourite author (and one of my very favourite men) Bret Easton Ellis. Not once did I meet him, but twice, first at his book signing and then later that day at a simply beautiful talk that he did for Grazia magazine's new book club (check out next week's issue...there may be a sly photo of Hayley and me in there).

There is a public-born perception of Bret Easton Ellis that makes him seem aloof, intimidating, possibly even pretentious, but I saw none of that yesterday. I met a charming, hilarious, fascinating, kind and very genuine man, who seemed almost as excited to meet us as we were to meet him. He was astonishingly cool, and, when he was giving his talk and was wearing glasses and a very nice suit, actually very sexy (hmm...but maybe that's just me...) He gave both me and Hayley hugs, he posed for photos, he chatted away to us as he signed our books and then later when we met him after his talk, he answered our questions and offered to have more photos with us, even going as far as to ask whether or not the picture had taken properly.


There is a saying that goes 'never meet your heroes'. Well, I do not believe in that. Yesterday, I met my hero. I met the man who wrote seven of the greatest books I have ever read. The man whose brain created my favourite characters: Clay, Julian, Patrick Bateman, Brian Metro, Paul Denton, Victor Ward. The man who wrote Lunar Park, which broke my heart.

I met Bret Easton Ellis. I keep saying those words to myself because I am finding it very difficult to believe.





Photos of the rest of my day in London will follow very shortly.


Thursday, 15 July 2010

15/7/10

As per usual, in the hours prior to what is possibly going to be a life-changing event, I am sickeningly nervous. It is difficult for me, right now, to even consider regular things in life, like eating, or sleeping. I feel, in these sorts of moments, like I am a little disconnected, and while I understand that my obsessive nature should perhaps be something of a concern to me, the things that I love - and the moments that could occur, like during tomorrow - are more important than anything. Right now all my thoughts are circling around will that skirt look ok? or is there any possible way for me to make this new haircut of mine, which I am gradually beginning to despise, look normal? Yes, I have just had my hair cut and I now have a fringe. A fringe. Like an actual, 1990s schoolgirl fringe. Disgusting. Less Freja Beha Erichson and far more Chloe Sevigny in American Psycho. Not cool. I fear that I am going to have to wear a hat, and I do not have a head for hats - literally. But that is not important, to anyone else but me. What is important is the fact that I am going to see Bret Easton Ellis tomorrow. TOMORROW. And on the subject of Bret Easton Ellis, watch this exceptional shot film depciting a scene from Bret's new novel, Imperial Bedrooms. Eerily beautiful.

Sunday, 27 June 2010

I never liked anyone and I'm afraid of people.

Today I read Bret Easton Ellis' new novel, Imperial Bedrooms. I realise that most of my blog posts these days involve Bret, but this new novel of his - a sequel to Less Than Zero - is very blogworthy.

The book is beautiful. Physically, it is beautiful; the cover is incredible. And the novel itself is, the more I think about it, the only logical way that Less Than Zero could be continued without the story becoming tacky or

clichéd.

Clay, the protagonist, is, in Less Than Zero, one of my very favourite characters ever written. He is just so...vague. And yet there is definitely something there behind that that I find absolutely fascinating, but which is difficult to explain. In Imperial Bedrooms, this side of Clay that wants to 'see the worst', as he explains in LTZ, is explored in depth. He is such a creep. And I love it.

He is just such a great character. Everything he says is so distant and uncaring, and even when you think - or worry - that he is going to turn into some sap, he beats some lass up. Fantastic.

Reading this only confirmed for me that B.E.E is one of the greatest novelists of our generation. His style is so honest and real. Unlike some of his contemporaries - Douglas Coupland or Jay Mcinenry, for example - the speech is actual human speech, and for me that is one of the best things about his novels.

But in Imperial Bedrooms, it was the very last paragraph that did it for me. That last line, and the dates written there. I smiled. I think my jaw probably dropped. It was perfection.

Wednesday, 23 June 2010

I keep staring past the palm trees, watching the skies.

'My dreams start out calmly. I'll be younger and walking home from school and the day will be overcast, clouds gray and white and some of them purple. Then it'll start to rain and I'll begin to run. After running through all this falling water for what seems to be a really long time, I'll suddenly trip into mud and fall flat on the ground and because the earth's so wet, I start to sink, and the mud fills my mouth and I start to swallow it and it goes up through my nose and finally into my eyes and I don't wake up until I am completely underground.'

- Bret Easton Ellis, 'Less Than Zero'

Monday, 21 June 2010

Oh my God. BRET.

Oh my God. Bret Easton Ellis is doing a book signing. In England. In England. In a place that I can actually get to. My God. I am going to meet Bret Easton Ellis. I am actually going to be in his presence. My hands are shaking.

I discovered this little piece of information this morning, after I had all but given up hope that he was going to come here. He is doing a book reading in Nottingham, and a signing in London, and I think I would prefer to go to the signing. At least that way I definitely get to meet him. I love him. Oh my goodness!

I am so excited that I am having a bit of trouble breathing.

Monday, 12 April 2010

"Action Unites. Words Divide."

I finally finished Glamorama, by Bret Easton Ellis. It was absolutely...pointless. I adored it, I really did. It was classic Ellis: gripping, hilarious, truly nauseating at times, and absolutely beautifully written, but there was no ending.

Usually I hate novels like Ellis writes; pretentious books written to be analyzed and criticised. But he writes them in such a charming and (I hate the word, but) edgy way, and with such flourishes of complete and utter genius that I fall in love every time. Glamorama was entirely as funny and sarcastic as his previous novels that I have read, and (quite surprisingly) there was a semblance of a plot in there, rather than just a series of events occurring and interlapping. It would have been a novel of literary perfection if only the end had not been so frustrating.

Despite the fact that he's an absolute wimp, I like Victor Ward/Johnson, the leading protagonist. There was slightly more inside him to connect to than with say Clay in Less Than Zero (although incidentally I adore him, too). Victor is funny. You forgive him his ridiculous vanity and culture obsessions because he seems so
unaware. And when he realises that everything he lives for is bullshit, he tries to move on. So yeah, I sort of became attached to him. I wanted an ending. I wanted answers.

But no. Ellis doesn't write to give answers. He doesn't even write towards an answer. There seems to be no logical conclusion to his writing. I suspect that this is part of his genius; it really leaves you craving more. I cannot decide whether Ellis writes for his characters or for the story. Possibly both. Probably neither.


Glamorama is an exceptional book. It is, I think, a very honest novel (particularly when you consider the circles that Ellis himself has spent time in). I'm almost sad that I've finished it because I enjoyed reading it so much (despite the constant headache I had from frowning so much in confusion).

So if you want to see where they blatantly stole the idea for Zoolander from, read it.
If you want something to really think about, read it. If you want a novel with clues and answers and a nice round ending, go and read Harry Potter, you pussy.



A few of my favourite Glamorama quotes:

- Even though we've never met she looks eerily familiar, as if we've known her forever.

- "JD, I'm in the middle of becoming some kind of brooding god," I groan.

- "Hey baby, we're all in this together," I grunt, my hands dusted with chalk. "Yeah, I wanna give this all up and feed the homeless. I wanna give all this up and teach orangutans sign language. I'm gonna bike around the countryside with my sketchbook. I'm gonna - what? Help improve race relations in this country? Run for fucking president? Read my lips: Spare me."

- "Dad, life is tacky."

- "Everyone here is just...so...dead."

- ...and above me the morning sky is white and I'm thinking. Stay indoors, go to sleep, don't get involved, view everything without expression, drink whiskey, pose, accept.

- Silence, empty and graceless. I'm staring at them, unable to take all this in because of certain details my mind cannot accept, and that lack of importance is spreading and I'm looking at this through a window and it's being boarded up and it's night and no one has said or is going to say who they really are.

Wednesday, 24 March 2010

"I'm fizzy with excitement"

Yesterday I began reading my fifth Bret Easton Ellis book in the past fortnight, Glamorama. Perhaps I should have read them in published order (his characters often reappear in subsequent novels). So far I have gone through American Psycho, Lunar Park, Less Than Zero and The Informers. American Psycho is, of course, the best, even though large portions of the book are physically nauseating (you try and read a chapter about a woman literally being chewed apart while you're trying to eat your lunch. Unpleasant). It helps that when reading it I can picture Christian Bale (who, incidentally, was utterly perfect for the part).

The thing about Ellis' writing that's so captivating though, is that it's real. Not real in the 'oh yeah, we're all multi-million dollar earning models/actors/Wall Street bastards' sense, but real in the style of the writing. The dialogue is real. If you've never spoken to someone doped up to the eyeballs, maybe you can't imagine how nece
ssary those little ...'s are that Ellis uses. And as corny as it might sound, the pain that Ellis writes into his characters - or, as the case often is, the lack of emotion entirely - is completely visual. It's beautiful.

But the thing that my friend Hayley and I decided was the most perfect thing about Ellis' writing was his use of sarcasm. His books - especially American Psycho and Lunar Park - are brimming with sarcasm. It is, I think, what makes his characters so believable, the same way that Clare and Henry are in (my favourite novel of all time) The Time Traveller's Wife. The conversations they have are written like real conversations, not like book conversations. The language used is how a person would really speak, and that is the mark of a really talented writer.

Hayley has written her own Ellis-loving post on her blog (http://theyhadmadeamovieaboutus.blogspot.com/2010/03/there-is-no-real-me-only-entity.html) which is what inspired me to write mine - I wanted to explain somewhere how much this author has affected me.

Roll on June 2010 and Ellis' new novel, Imperial Bedrooms.