Article_anolikLili Anolik at The Believer:

Bret Easton Ellis is modern literature’s little rascal supreme. He seems to do things for no reason other than the fun of it. Take, for example, the many references in his books to his other books, references made in such a super-subtle yet obsessive way he could be doing it only to amuse himself. His minor characters are often recurring. Sean Bateman, for example, one of the protagonists in The Rules of Attraction, has, it is glancingly mentioned, an older brother, Patrick, the gifter of a brown Ralph Lauren tie about which Sean has ambivalent feelings. Patrick then lands the lead role as the Psycho who also happens to be an American in Ellis’s next work. Ellis did the same thing with Victor Johnson, Lauren Hynde’s mostly offstage boyfriend in The Rules of Attraction, moving him from the periphery of that novel (he’s backpacking through Europe for much of the narrative) to front-and-center in Glamorama. Ellis even gives him a stage name, Victor Ward—which is stronger, more macho-sounding, and, with fewer syllables, fits better on a marquee—as is commensurate with his change in status from bit player to star. What or whom, one wonders, did these characters have to do in order to secure their big breaks? If any writer would have a casting couch for his fictional creations, it would be Ellis.

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