bottles of Dom Perignon until the unamused staff would ask us to vacate the premises. Since our editors were taking us out all the time on their limitless expense accounts, the publishing houses were actually paying for this debauchery. It was the beginning of a time when it was almost as if the novel itself didn’t matter anymore— publishing a shiny booklike object was simply an excuse for parties and glamour and good-looking authors reading finely honed minimalism to students who would listen rapt with slack-jawed admiration, thinking, I could do that, I could be them. But of course if you weren’t photogenic enough, the sad truth was you couldn’t. And if you were not a supporter of the Brat Pack, you simply had to accept us anyway. We were everywhere. There was no escaping our visages staring out at you from the pages of magazines and TV talk shows and scotch ads and posters on the sides of buses, in the tabloid gossip columns, our blank expressions caught in the dead glare of the camera flash, a hand holding the cigarette a fan was lighting. We had invaded the world.
And I was on display. Everything I did was written about. The paparazzi followed me constantly. A spilled drink in Nell’s suggested drunkenness in a Page Six item in the New York Post. Dining at Canal Bar with Judd Nelson and Robert Downey Jr., who costarred in the movie adaptation of Less Than Zero, suggested “bad behavior” (true, but still). An innocuous script meeting with Ally Sheedy over lunch at Palio was construed as a sexual relationship. But I had put myself out there—I hadn’t hidden—so what did I expect? I was doing Ray-Ban ads at twenty-two. I was posing for the covers of English magazines on a tennis court, on a throne, on the deck of my condo in a purple robe. I threw lavish catered parties—sometimes complete with strippers—in my condo on a whim (“Because It’s Thursday!” one invitation read). I crashed a borrowed Ferrari in Southampton and its owner just smiled (for some reason I was naked). I attended three fairly exclusive orgies. I did guest spots as myself on Family Ties and The Facts of Life and Melrose Place and Beverly Hills 90210 and Central Park West. I dined at the White House in the summer of 1986, the guest of Jeb and George W. Bush, both of whom were fans. My life was an unfolding parade made all the more magical by the constant materialization of cocaine, and if you wanted to hang out with me you had to carry at least an eight ball. And soon I became very adept at giving off the impression that I was listening to you when in fact I was dreaming about myself: my career, all the money I had made, the way my fame had blossomed and defined me, how recklessly the world allowed me to behave. Whenever I revisited L.A. over the Christmas holidays I usually chalked up four or five moving violations in the cream-colored 450 SL my father had handed down to me, but I lived in a place where the cops could be bought off, a place where you could drive at night without headlights, a place where you could snort coke while getting blown by the B-list actress, a place that allowed the three-day smack binge with the upcoming supermodel in the four-star hotel. It was a world that was quickly becoming a place with no boundaries. It was Dilaudid at noon. It was not talking to anyone in my immediate family for five months.
The two main events during the next phase of my life were the hurried publication of a second novel, The Rules of Attraction, and my affair with the actress Jayne Dennis. The Rules of Attraction was written during my senior year at Camden and detailed the sex lives of a small group of wealthy, alienated, sexually ambiguous students at a small New England liberal arts college (so like Camden itself that this is what I called the fictional university) during the height of the Reagan eighties. We followed them as they wandered from orgiastic party to orgiastic party, from one stranger’s bed to another, and the text catalogued all the drugs devoured, all the alcohol guzzled, how easily they drifted into abortions and vast apathy and skipping classes, and it was supposed to be an indictment of, well, really nothing, but at that point in my career I could have submitted the notes I had taken in my junior year Virginia Woolf course and would still have received the huge advance and copious amounts of publicity. The book was also a best seller, though not as successful as Less Than Zero, and the press became even more fascinated with me, and by the decadence portrayed in the book and how it seemed to mirror my public lifestyle as well as the decade we were all trapped in. The book cemented my authority as the spokesman for this generation, and my fame grew in direct proportion to the number of copies the book sold. It all kept coming: the cases of champagne consumed, the suits Armani sent over, the cocktails in first class, the charting on various power lists, the court seats at Lakers games, the shopping after hours at Barneys, the groupies, the paternity suits, the restraining orders against “determined fans,” the first million, the second million, the third million. I was going to start my own line of furniture. I was going to have my own production company. And the spotlight’s white glare kept intensifying, especially when I started dating Jayne Dennis.
Jayne Dennis was a young model who had seamlessly made the transition to serious actress and had been steadily gaining recognition for her roles in a number of A-list projects. Our paths had crossed at various celebrity functions, and she had always been extremely flirtatious—but since everyone was flirting with me at that point in my life, her interest barely registered until she arrived at a Christmas party I threw in 1988 and basically hurled herself at me (I was that irresistible). At the after-party at Nell’s I found myself making out with her in one of the club’s front booths and then whisked her back to my suite at The Carlyle (it took the caterers two days to decorate the condo and three days to clean it up—there were five hundred guests—so I moved into a hotel the week of that party), where we had sex all night and then I had a plane to catch the next morning to L.A. for the holidays. When I returned to New York we officially became a high-profile couple. We could be seen at an Elton John AIDS benefit concert at Madison Square Garden, we were photographed at a Hampton’s polo match, we were interviewed by Entertainment Tonight on the red carpet at the Ziegfeld premiere of the new Eddie Murphy comedy, we sat in the front row at a Versace fashion show, paparazzi followed us to a friend’s villa in Nice. Though Jayne had fallen in love with me and wanted to get married, I was simply too preoccupied with myself and felt the relationship, if it kept running its course, would be doomed by summer. Besides her neediness and self- loathing, there were other insurmountable obstacles: namely drugs and, to a lesser extent, massive alcohol consumption; there were other girls, there were other boys; there was always another party to get lost in. Jayne and I broke up amiably in May of 1989 and kept in touch in a sad/funny sort of way; there was a continuing wistfulness on her part and a high level of sexual interest on mine. But I needed my space. I needed to be alone. A woman wasn’t going to interfere with my creativity (plus, Jayne didn’t add anything to it). I had started a new novel that was beginning to demand most of my time.
What’s left to say about American Psycho that hasn’t already been said? And I feel no need to go into great detail about it here. For those who weren’t in the room at the time, here’s the CliffsNotes version: I wrote a novel about a young, wealthy, alienated Wall Street yuppie named Patrick Bateman who also happened to be a serial killer filled with vast apathy during the height of the Reagan eighties. The novel was pornographic and extremely violent, so much so that my publishers, Simon & Schuster, refused the book on grounds of taste, forfeiting a mid-six-figure advance. Sonny Mehta, the head of Knopf, snapped up the rights, and even before its publication the controversy and scandal the novel achieved was enormous. I did no press because it was pointless—my voice would have been drowned out by all the indignant wailing. The book was accused of introducing serial killer chic to the nation. It was reviewed in the New York Times, three months before publication, under the headline “Don’t Buy This Book.” It was the subject of a 10,000-word essay by Norman Mailer in Vanity Fair (“the first novel in years to take on deep, dark, Dostoyevskian themes—how one wishes this writer was without talent!”). It was the object of scornful editorials, there were debates on CNN, there was a feminist boycott by the National Organization of Women and the obligatory death threats (a tour was canceled because of them). PEN and the Authors Guild refused to come to my rescue. I was vilified even though the book sold millions of copies and raised the fame quotient so high that my name became as recognizable as most movie stars’ or athletes’. I was taken seriously. I was a joke. I was avant-garde. I was a traditionalist. I was underrated. I was overrated. I was innocent. I was partly guilty. I had orchestrated the controversy. I was incapable of orchestrating anything. I was considered the most misogynist American writer in existence. I was a victim of the burgeoning culture of the politically correct. The debates raged on and on, and not even the Gulf War in the spring of 1991 could distract the public’s fear and worry and fascination from Patrick Bateman and his twisted life. I made more money than I knew what to do with. It was the year of being hated.
What I didn’t—and couldn’t—tell anyone was that writing the book had been an extremely disturbing experience. That even though I had planned to base Patrick Bateman on my father, someone— something—else took over and caused this new character to be my only reference point during the three years it took to complete the novel. What I didn’t tell anyone was that the book was written mostly at night when the spirit of this madman would visit, sometimes waking me from a deep, Xanax-induced sleep. When
