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In the dialogue-laden climax, Carnes stands up to a defiant Bateman and tells him his claim of having murdered Owen is impossible, because he had dinner with him twice in London just a few days prior. Mistaking Bateman for another colleague, Carnes claims that the Patrick Bateman he knows is too much of a coward to have committed such acts. At the end of the story, Bateman confronts Carnes about the message he left on his machine, only to find the attorney amused at what he considers a hilarious joke. She tells him to leave and never return.īateman's mental state continues to deteriorate and he begins to experience bizarre hallucinations such as seeing a Cheerio interviewed on a talk show, being stalked by an anthropomorphic park bench, and finding a bone in his Dove Bar. The real estate agent, who sees his surgical mask, fools him into stating he was attending the apartment viewing because he "saw an ad in the Times" (when in fact there was no such advertisement). He enters the perfectly clean, refurbished apartment, however, filled with strong-smelling flowers meant, perhaps, to conceal a bad odor. Later, Bateman revisits Paul Owen's apartment, where he had earlier killed and mutilated two prostitutes, carrying a surgical mask in anticipation of the decomposing bodies he expects to encounter. Bateman flees on foot and hides in his office, where he phones his attorney, Harold Carnes, and confesses all his crimes to an answering machine. This narrative episode sees the first-person perspective shift to third-person and the subsequent events are, although not for the first time in the novel, described in terms pertaining to cinematic portrayal.
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He introduces stories about serial killers into casual conversations and on several occasions openly confesses his murderous activities to his coworkers, who never take him seriously, do not hear what he says, or misunderstand him completely-for example, hearing the words "murders and executions" as "mergers and acquisitions." These incidents culminate in a shooting spree during which he kills several random people in the street, resulting in a SWAT team being dispatched in a helicopter. His murders become increasingly sadistic and complex, progressing from simple stabbings to drawn-out sequences of rape, torture, mutilation, cannibalism, and necrophilia, and his grasp on sanity begins to slip. Bateman's control over his violent urges deteriorates.
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Deeply concerned with his personal appearance, Bateman gives extensive descriptions of his daily aesthetics regimen.Īfter killing Paul Owen, one of his colleagues, Bateman appropriates Paul's apartment as a place to host and kill more victims.
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Characters are consistently introduced as people other than themselves, and people argue over the identities of others they can see in restaurants or at parties. The novel maintains a high level of ambiguity through mistaken identity and contradictions that introduce the possibility that Bateman is an unreliable narrator. Bateman's stream of consciousness is occasionally broken up by chapters in which he directly addresses the reader in order to critique the work of 1980s pop music artists.
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Through present tense stream-of-consciousness narrative, Bateman describes his daily life, ranging from a series of Friday nights spent at nightclubs with his colleagues-where they snort cocaine, critique fellow club-goers' clothing, trade fashion advice, and question one another on proper etiquette-to his loveless engagement to fellow yuppie Evelyn and his contentious relationship with his brother and senile mother. Bateman, in his mid-20s when the story begins, narrates his everyday activities, from his recreational life among the Wall Street elite of New York to his forays into murder by night. Set in Manhattan during the Wall Street boom of the late 1980s, American Psycho follows the life of wealthy young investment banker Patrick Bateman. I was so on the defensive because of the reaction to that book that I wasn't able to talk about it on that level. It came from a much more personal place, and that's something that I've only been admitting in the last year or so. It wasn't that I was going to make up this serial killer on Wall Street.
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That is where the tension of American Psycho came from. I was slipping into a consumerist kind of void that was supposed to give me confidence and make me feel good about myself but just made me feel worse and worse and worse about myself. It initiated because of my own isolation and alienation at a point in my life. He did not come out of me sitting down and wanting to write a grand sweeping indictment of yuppie culture.