Bret Easton Ellis

Is evil something you are? Or is it something you do?

What else is there to do in college except drink beer or slit one's wrists?

But this was what happened when you didn't want to visit and confront the past: the past starts visiting and confronting you.

It's basically a joke." "I think it's cool," Julian says. "It's all about control, right?" He considers something. "It's not a joke. You should take it seriously. I mean, you're also one of the producers--" I cut him off. "Why have you been tracking this?" "It's a big deal and--" "Julian, it's a movie," I say. "Why have you been tracking this? It's just another movie." "Maybe for you." "What does that mean?" "Maybe for others it's something else," Julian says. "Something more meaningful." "I get where you're coming from, but there's a vampire in it.

A vast and abandoned world laid out in anonymous grids and quadrants, a view that confirmed you were much more alone than you thought you were, a view that inspired the flickering thoughts of suicide.

On the plane leaving Tokyo I__ sitting alone in back twisting the knobs on Etch-A-Sketch and Roger is next to me singing __ver the Rainbow_ straight into my ear, things changing, falling apart, fading, another year, a few more moves, a hard person who doesn__ give a fuck, a boredom so monumental it humbles, arrangements so fleeting made by people you don__ even know that it requires you to lose any sense of reality you might have once acquired, expectations so unreasonable you become superstitious about ever matching them. Roger offers me a joint and I take a drag and stare out the window and I relax for a moment when the lights of Tokyo, which I never realized is an island, vanish from view but this feeling only lasts a moment because Roger is telling me that other lights in other cities, in other countries, on other planets, are coming into view soon.

I kept staring into the blackness of the woods, drawn into the darkness as I always had been. I suddenly realized how alone I was. (But this is how you travel, the wind whispered back, this is how you've always lived.)

She said that you--" "I don't care what she said." I stand up. "Everyone lies." "Hey," he says softly. "It's just a code." "No. Everyone lies." I stub the cigarette out. "It's just another language you have to learn." Then he delicately adds, "I think you need some coffee, dude." Pause. "Why are you so angry?

I come to a red light, tempted to go through it, then stop once I see a billboard sign that I don__ remember seeing and I look up at it. All it says is 'Disappear Here' and even though it__ probably an ad for some resort, it still freaks me out a little and I step on the gas really hard and the car screeches as I leave the light.

what's right? If you want something, you have the right to take it. If you want to do something, you have the right to do it.

He wasn't, I realized when I read those scenes concerning Blair and myself, close to any of us-- except of course to Blair, and really not even to her. He was simply someone who floated through our lives and didn't seem to care how flatly he perceived everyone or that he'd shared our secret failures with the world, showcasing the youthful indifference, the gleaming nihilism, glamorizing the horror of it all. But there was no point in being angry with him.

The audience-- the book's actual cast-- quickly realized what had happened. The reason the movie dropped everything that made the novel real was because there was no way the parents who ran the studio would ever expose their children in the same black light the book did. The movie was begging for our sympathy whereas the book didn't give a shit. And attitudes about drugs and sex had shifted quickly from 1985 to 1987 (and a regime change at the studio didn't help) so the source material-- surprisingly conservative despite its surface immorality-- had to be reshaped.

... Because the writer resented that she had turned to me I became the handsome and dazed narrator, incapable of love or kindness. That's how I became the damaged party boy who wandered through the wreckage, blood streaming from his nose, asking questions that never required answers. That's how I became the boy who never understood how anything worked. That's how I became the boy who wouldn't save a friend. That's how I became the boy who couldn't love the girl.

Careless and not particularly biting, it was easier to shrug off than anything in the first book which depicted me as an inarticulate zombie confused by the irony of Randy Newman's "I Love L.A.

What you need is a chick from Camden,' Van Patten says, after recovering from McDermott's statement.Oh great,' I say. 'Some chick who thinks it's okay to fuck her brother.'Yeah, but they think AIDS is a new band from England,' Price points out.Where's dinner?' Van Patten asks, absently studying the question scrawled on his napkin. 'Where the fuck are we going?'It's really funny that girls think guys are concerned with that, with diseases and stuff,' Van Patten says, shaking his head.I'm not gonna wear a fucking condom,' McDermott announces.I have read this article I've Xeroxed,' Van Patten says, 'and it says our chances of catching that are like zero zero zero zero point half a decimal percentage or something, and this no matter what kind of scumbag, slutbucket, horndog chick we end up boffing.'Guys just cannot get it.'Well, not white guys.

And it struck me then, that I liked Sean because he looked, well, slutty. A boy who had been around. A boy who couldn't remember if he was Catholic or not.

It strikes me profoundly that the world is more often than not a bad and cruel place.

The reassuring smile was now useless. I was plastic. Everything was veiled. Objectivity, facts, hard information--these were things only in the outline stage. There was nothing tying anything together yet, so the mind built up a defense, and the evidence was restructured, and that was what I tried to do on that morning--to restructure the evidence so it made sense--and that is what I failed at.