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Glamorama (Vintage Contemporaries), by Bret Easton Ellis
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The author of American Psycho and Less Than Zero continues to shock and haunt us with his incisive and brilliant dissection of the modern world. In his most ambitious and gripping book yet, Bret Easton Ellis takes our celebrity obsessed culture and increases the volume exponentially.
Victor Ward, a model with perfect abs who exists in magazines and gossip columns and whose life resembles an ultra-hip movie, is living with one beautiful model and having an affair with another. And then it's time to move on to the next stage. But the future he gets is not the one he had in mind.
- Sales Rank: #267912 in Books
- Color: Multicolor
- Published on: 2000-03-21
- Released on: 2000-03-21
- Original language: English
- Number of items: 1
- Dimensions: 7.99" h x .97" w x 5.19" l,
- Binding: Paperback
- 560 pages
Amazon.com Review
Glamorama is a satirical mass-murder opus more ambitious than Bret Easton Ellis's 1990 American Psycho. It starts as a spritz-of-consciousness romp about kid-club entrepreneur Victor Ward, "the It boy of the moment," an actor-model up for Flatliners II. Ellis has perfect pitch for glam-speak, and he gives nightlife the fizz, pace, and shimmer it lacks in drab reality. Anyone could cite the right celeb names and tunes, but like a rock-polishing machine, his prose gives literary sheen to fame-chasing air-kissers. He's coldly funny: when Victor's girl tries to argue him out of a breakup, she angrily snorts six bumps of coke, stops, mutters, "Wrong vial," snorts four corrective doses from whatever she has in her other fist, then objects to a rival at the party wearing the same dress she's wearing.
You had to be there; Ellis makes you feel you are. But such satire is a very smart bomb targeting a very large barn. Models' status anxiety doesn't merit Ellis's Tom Wolfe-esque expertise. Glamorama gets better when Victor gets drafted into a mysterious group of model-terrorists who bomb 747s and the Ritz in Paris, wearing Kevlar-lined Armani suits. Oh, they still behave like shallow snobs, pronouncing "cool" as if it had 12 o's. But now when somebody swills Cristal, it's apt to be poisoned, to horrific effect, which Ellis expertly, affectlessly describes. His enfant-terrible debut, Less Than Zero, aped Joan Didion. Now Ellis has grown into a lesser Don DeLillo--and that's high praise. --Tim Appelo
From Publishers Weekly
The evil twin of fellow brat-packer Jay McInerney's Model Behavior, Ellis's (The Informers) bad trip through glitterary New York has everything his fans (and critics) have come to expect: graphic sex, designer drugs, rock 'n' roll allusions, splatterpunk violence and characters as deep as 8"x10" glossies. Protagonist Victor Ward, a "model-slash-loser," is opening his own trendy Manhattan club while cheating on his supermodel girlfriend and back-stabbing his partner. After some adventures in clubland, the plot takes a turn for the paranoid. Victor is recruited by a mysterious figure, F. Fred Palakon, to track down a former girlfriend gone missing in London. There he becomes unwillingly drawn into a terrorist group?run, like so much else in the novel, by a supermodel?that bombs fashionable hangouts, hotels and jetliners. Throughout, Ellis clutters his hallmark proper-noun realism with excessive name-dropping and strung-out plotting. The satirist in Ellis seems to want to indict celebrity-obsessed, materialistic and superficial contemporary culture. With this novel he, perhaps unwittingly but certainly ironically, provides Exhibit A. 100,000 first printing.
Copyright 1998 Reed Business Information, Inc.
From Library Journal
Set against the backdrop of a Manhattan populated by socially elite models, actors, and VIPs, Ellis's (The Rules of Attraction, LJ 7/94) fifth novel features Victor Ward, a self-absorbed, hedonistic, semifamous model and a callous womanizer. After plowing through chapters of Victor popping Xanax, blowing cocaine, and generally living in a fog while pursuing women and important new people, the reader may wonder whether there is anything to the plot other than partying. But finally the pace quickens in a bizarre way. Victor is paid $300,000 by a friend of his father (unbeknownst to Victor) to go to England to bring home a girl. In Europe, Victor is used as a pawn not only by his father but also by a male model named Bobby, who blows up buses, subway trains, and anything else in order to make a political statement. Dragged into Bobby's world of terrorism, Victor also finds himself trying to escape his father's grip. Ellis's description of various tortures and murders are as gruesome as ever, and once again he has identified with "coolness." Recommended for larger collections or where his books are popular.
-?Brent Newmoyer, "Library Journal"
Copyright 1998 Reed Business Information, Inc.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Glamorama is an ambitious and darkly comic American novel.
By A Customer
When I read American Psycho the first time, I was almost as appalled as the rest of the hysterical reviewers. I discounted his literary merit just like everyone else. But when I re-read it 3 years later, I laughed my ass off. The point: I guess you either get what Ellis is up to or you don't. I didn't at one point and I'm happy I got beyond. Glamorama is indeed a very DeLillo-esque book, full of shadow worlds and paranoia, but reads with a unique comic tone I've come to really enjoy. It is also his most balanced and full work to date. And yes, you ninnies--he is a moralist, and, in a very traditional American novelist who reminds me (don't laugh!) at times of Fitzgerald, Hawthorne, and Flannery O'Connor. I believe it's time to take another, less emotional, look at Ellis.
3 of 5 people found the following review helpful.
Ellis' schitzo foray into writing with a plot........
By Surface to Air Missle
This was one of those fascinating books that is hard to put down but unfortunately leaves you frustrated. Arse-kicking ultraviolent terrorist supermodels is an interesting premise but this is really a book about chaos, reality perception, and fiding out who you are. The ending was disapointing and underwhelming and many complain about the violence and pornographic sex but this book is tame compared to Elllis' American Psycho.
Ellis took six years to write this and you can tell that from the tone and direction the book takes through its progress that Ellis himself changed during this period. I commend him for trying something (somewhat) new with this book becuase by the time I finished American Psycho, I was getting a little tired of his plotless formula. Victor Ward as a character is a little base to front a self discovery novel but it Ellis' wit and prose carries the book well enough.
Bottom Line: fans of Ellis should of course pick this up but again I think that Ellis books should be read in order. Those who have read all of his books will be inexplicably drawn to this one as I myself was. Wether Ellis sticks with his typical ambience piece or goes for another linear plot book is fine by me because I am just curious to see what he will do next.
People not familiar with Ellis' works should start with Less Than Zero.
0 of 4 people found the following review helpful.
Not Worth The Paper On Which It's Printed
By Michael Lima
I've enjoyed every one of Ellis' other books. While they have always had vapid characters, I always had the sense that their lack of a center had a purpose: namely, to convey Ellis' outrage at the decline of morality in our society. That sense was totally missing in Glamorama. Instead, I got the impression that Ellis was trying to mock the shallowness of popular culture. The only problem with that approach is (like U2 discovered on its most recent tour) that when an artist tries to make fun of this shallowness, they only expose their own role in perpetuating it.
This book is a major disappointment on all levels. The main character is incredibly unsympathetic. The plot is a mess. And, the writing is definitely below the level that Ellis can perform. To put it simply, having song lyrics as dialogue for the characters is not good writing; it's the writing of someone who thinks they're cleverer than what they are. One can only hope that Glamorama is a one-time stumble for a very talented author.
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