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“... the North American mainstream of late-20th-century blank-generation art. The consumerism is very Bret EastonEllis; the gizmology takes him close to Laurie Anderson; the relationship to Warhol and downtown Pop-ism has already been rehearsed. Coupland’s cool, he’s hip, he’s always first with whatever’s ...”

“... Faulkner, film noir, the extraordinary novels of Chester Himes and on towards Rechy, Didion and Bret EastonEllis. Davis acutely points out that noir – dystopian revulsion at the boosterism that manured the city’s growth – took hold as a style in the Depression because it was anchored in the despair of the ...”

“... form in his wake – John Hawkes, Rudolph Wurlitzer, Renata Adler, Lynne Tillman, Kathy Acker, Bret EastonEllis and Tao Lin come to mind – but innovative narrative fiction has enjoyed far greater support from publishers and readers in Europe. The bulk of published American fiction consists of ...”

“... in England’s veins. McInerney (who was five years old in 1960) is the leading connoisseur with Bret EastonEllis (who was not born in 1960) of a Nineties decadent chic. It’s that time of the century again, and McInerney’s style here and in his earlier bestseller Bright Lights, Big City is strikingly similar to ...”

“... it almost as an article of faith in the ‘blankness’ of mimetic apprehension in the work of Bret EastonEllis and others). A moment like this occurs in White’s essay, ‘Fantasia on the Seventies’, when he visits a club where a go-go boy with a pretty body and bad skin stripped down to his jockey shorts and ...”

“... context; or the Brat Pack writers of the late Eighties, whose three ‘founders’, Jay McInerney, Bret EastonEllis and Tama Janowitz, remain its only viable practitioners; or the so-called New Narrativists of the first half of this decade, writers as diverse in talent and sensibility as Rebecca Brown, Dennis ...”

“... Wallace died. He was by the end a good person too, loved and mourned by just about everyone except Bret EastonEllis. It’s possible to see Wallace’s career as the inversion of that of another great American novelist who wrote journalism that was pervaded by his personality: Norman Mailer. Monstrousness was the thing ...”

“... lifestyle, he washes down a dozen Quaaludes with Jack Daniels. His youthful exploits make for a Bret EastonEllis cocktail of privilege, debauchery and brand-names. ‘Barbara, the cocaine abuser, had encouraged me, after a night at Danceteria, to chop lines of that fell drug with her on her parents’ Roy ...”

“... craze for what Wallace called ‘conspicuously young’ first-time novelists: Jay McInerney, Bret EastonEllis, writers Wallace despised. His next book, Girl with Curious Hair (1989), saw him starting to focus his brainpower in haunting, enduringly strange tales of television, flatness, chemical and electrical ...”

“... follows this outline to the letter. What’s amazing is that Williams made it work, though as Bret EastonEllis observes in his introduction to the Vintage edition of Butcher’s Crossing, ‘you can tell from reading these books that the writer was taking this all very seriously’ – Stoner depends for its ...”

“... Jamesian: it lies in the alleged superiority of the art of fiction over mere external reportage. Bret EastonEllis’s nasty book, Mailer claims, reproduces sexual violence instead of making sense of it. Good fiction undertakes a journey to the heart of darkness; the time of Mailer’s time becomes the time of our ...”