JS wrote: "What really puzzles me is how a third-rate, diltante hack like Brett Easton Ellis produced such a sublime work, given that everything else he wrote was unredeemed crap. I think he stole it from someone else."I agree. Met him once in NYC at Nell's a century ago (friend of a friend). He was drunk and stooopid. I've never thought he was capable of what this work was saying. I think he stole it from Donna Tarrt.

Does anyone have thoughts on Ellis' GLAMORAMA in relation to his earlier work AMERICAN PSYCHO? I thought that, similarly to AP, this was also a great piece of work. There was also the fact that there were multiple references and associations to Chritian Bale in the book, who of course acted the part of Patrick Bateman in American Psycho film.

There was also that horrible "below" or "less than zero" which was eventually made into some pointless movie portraying rat-pack wash-ups most likely as themselves. They must have worked it in between arrests. If a film is supposed to reflect and be symbolic of indifferent lost youth, by itself being lost and with out direction, then at least it should be quasi-minimalist. Imagine Koyannasquatsi with special effects and maybe an ice climbing scene as an extreme example.There was a editorial I remember reading at the peak of this genre. It was around the time of bad movies like suburbia and slackers, as well as good ones like clerks. After this Gen-X got jobs and the market faded. He referred to youth as a condition or process that continually gets refined like barrel fermentation, they can't be disturbed or jostled in the slightest way.

First rule of "Fight Club" is to not speak about "Fight Club"Second rule is ..."Fight Club" is nice mix of "Beautiful Mind" and "Angel's heart"