- Taschenbuch: 496 Seiten
- Verlag: MacMillan; Auflage: New edition (10. Dezember 1999)
- Sprache: Englisch
- ISBN-10: 0330372092
- ISBN-13: 978-0330372091
- Größe und/oder Gewicht: 19,6 x 12,9 x 3,4 cm
- Durchschnittliche Kundenbewertung: 3.3 von 5 Sternen Alle Rezensionen anzeigen (189 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 133.602 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Amazon.co.uk
Glamorama is a satirical mass-murder opus more ambitious than Ellis's 1990 American Psycho. It starts as a spritz-of-consciousness romp about kid-club entrepreneur Victor Ward, "the It boy of the moment," an actor/model up for Flatliners II. Ellis has perfect pitch for glam-speak, and he gives nightlife the fizz, pace, and shimmer it lacks in drab reality. Anyone could cite the right celeb names and tunes; but like a rock-polishing machine, his prose gives literary sheen to fame-chasing air-kissers. He's coldly funny: when Victor's girl tries to argue him out of a break up, she angrily snorts six bumps of coke, stops, mutters, "Wrong vial," snorts four corrective doses from whatever she has in her other fist, then objects to a rival at the party wearing the same dress she's wearing.
You had to be there; Ellis makes you feel you are. But such satire is a very smart bomb targeting a very large barn. Models' status anxiety doesn't merit Ellis's Tom Wolfe-esque expertise. Glamorama gets better when Victor gets drafted into a mysterious group of model/terrorists who bomb 747s and the Ritz in Paris, wearing Kevlar-lined Armani suits. Oh, they still behave like shallow snobs, pronouncing "cool" as if it had 12 "o"s, but now when somebody swills Cristal, it's apt to be poisoned, to horrific effect, which Ellis expertly describes. His enfant-terrible debut Less Than Zero aped Joan Didion. Now Ellis has grown into a lesser Don DeLillo--and that's high praise. --Tim Appelo -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Amazon.com
Glamorama is a satirical mass-murder opus more ambitious than Bret Easton Ellis's 1990 American Psycho. It starts as a spritz-of-consciousness romp about kid-club entrepreneur Victor Ward, "the It boy of the moment," an actor-model up for Flatliners II. Ellis has perfect pitch for glam-speak, and he gives nightlife the fizz, pace, and shimmer it lacks in drab reality. Anyone could cite the right celeb names and tunes, but like a rock-polishing machine, his prose gives literary sheen to fame-chasing air-kissers. He's coldly funny: when Victor's girl tries to argue him out of a breakup, she angrily snorts six bumps of coke, stops, mutters, "Wrong vial," snorts four corrective doses from whatever she has in her other fist, then objects to a rival at the party wearing the same dress she's wearing.
You had to be there; Ellis makes you feel you are. But such satire is a very smart bomb targeting a very large barn. Models' status anxiety doesn't merit Ellis's Tom Wolfe-esque expertise. Glamorama gets better when Victor gets drafted into a mysterious group of model-terrorists who bomb 747s and the Ritz in Paris, wearing Kevlar-lined Armani suits. Oh, they still behave like shallow snobs, pronouncing "cool" as if it had 12 o's. But now when somebody swills Cristal, it's apt to be poisoned, to horrific effect, which Ellis expertly, affectlessly describes. His enfant-terrible debut, Less Than Zero, aped Joan Didion. Now Ellis has grown into a lesser Don DeLillo--and that's high praise. --Tim Appelo -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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3 von 3 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
Glamorama is a really remarkable novel in more than one way, and I enjoyed reading the other reviews, because they add to my understanding and perspective, still.
Whether you see it as a "deep study about shallowness" or find it shallow in dealing with serious problems, you might be right, depending on what you personally expect from literature.
For me, it was fun to read, it was irritating and the use of language intrigued me.
I like the the irritation of perception, and I cannot see any use in criticising the author for a book that is not written to morally "better" its readers. Thankfully this attitude has changed somewhat from the time when e.g. American Psycho was released; it must have been a horrible thing to be called a psycho killer, just because you wrote about one in 1rst person narrative.
Victor -as a representative of the "modern" lost man/boy- is basically an "immoral" ,- I am not saying that he is *bad*- character in a corresponding environment. He reacts to moral dilemmas in a reflex-kind of way: he doesn't really FEEL it.
As a consequence, everything he does, he does half-heartedly.
Someone said the book starts where American Psycho ended. I don't know if it is true, but it is an interesting point of view: Patrick Bateman is actively "evil", he kills people because he can. Victor Ward is totally passive, he is portrayed to be dumb, naïve, hostage to his superficial needs.
Things happen to him, he only adds to "the plot" through going along, being indecisive, cowardish, on drugs, etc.
Both, Bateman and Ward, show a complete lack of morals, but Victor seems to vaguely miss them. Victor is totally (he'd probably say) "gamma-ish" in his emotional development, like everybody in his world. Criteria have switched from inside to outside, and wether it is brains -like in Brave New World- or looks ("The better you look the more you see"), it is just as bad. And the people who have both are the most dangerous - an army of Batemans?
Everything is so strange, unstoppable, out of Victor's reach and comprehension, the rules are without meaning. What Victor craves besides drugs, sex and music -the only way to experience anything remotely emotional- has nothing to do with reality, either: he wants to be famous.
Whether you see it as a "deep study about shallowness" or find it shallow in dealing with serious problems, you might be right, depending on what you personally expect from literature.
For me, it was fun to read, it was irritating and the use of language intrigued me.
I like the the irritation of perception, and I cannot see any use in criticising the author for a book that is not written to morally "better" its readers. Thankfully this attitude has changed somewhat from the time when e.g. American Psycho was released; it must have been a horrible thing to be called a psycho killer, just because you wrote about one in 1rst person narrative.
Victor -as a representative of the "modern" lost man/boy- is basically an "immoral" ,- I am not saying that he is *bad*- character in a corresponding environment. He reacts to moral dilemmas in a reflex-kind of way: he doesn't really FEEL it.
As a consequence, everything he does, he does half-heartedly.
Someone said the book starts where American Psycho ended. I don't know if it is true, but it is an interesting point of view: Patrick Bateman is actively "evil", he kills people because he can. Victor Ward is totally passive, he is portrayed to be dumb, naïve, hostage to his superficial needs.
Things happen to him, he only adds to "the plot" through going along, being indecisive, cowardish, on drugs, etc.
Both, Bateman and Ward, show a complete lack of morals, but Victor seems to vaguely miss them. Victor is totally (he'd probably say) "gamma-ish" in his emotional development, like everybody in his world. Criteria have switched from inside to outside, and wether it is brains -like in Brave New World- or looks ("The better you look the more you see"), it is just as bad. And the people who have both are the most dangerous - an army of Batemans?
Everything is so strange, unstoppable, out of Victor's reach and comprehension, the rules are without meaning. What Victor craves besides drugs, sex and music -the only way to experience anything remotely emotional- has nothing to do with reality, either: he wants to be famous.
Victor is in a constant "who-cares, I am a looser, baby, so why don't you kill me"-mode, yet very frightened. That's where the drugs come in again. And that is also where he never gets the chance to deal with anything.
It is interesting to see him develop at a rate of something close to turtlespeed, whereas the world around seems to be turning faster and faster. And makes him spin "like a record, baby - round, round, round round..." By the way, I loved this, his only skill - quoting from songs instead of answering questions- so much that I could never really "abandon" him.
May anything have helped ? The person "Victor", does it exist?
Victor is outside a world and a time where Right and Wrong still were valuable - accepted and internalized. Has the "individual" ceased to exist, not only in modern philosophy? Do people like Victor exist?
- The point may be: do we care.
3 von 3 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
Well I am actually more a "mainstream reader" but this is a real masterpiece which makes you think about your own existence and its purpose.
Follow the anti-hero Victor an almost celebrity into a crazy world of models, drugs, sex and crime and discover the real values of mankind after a long and hard struggle. But don't expect a happy end.
I first thought it strange but then I got hooked and suffered with Victor. I highly recommend this book even if you are not so much into modern literature. It's worth a try.
2 von 2 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
nach american psycho, das mich einige urlaubstage lang wirklich gefesselt hat, war ich dann doch gespannt auch das nächste B.E.Ellis- Buch. glamorama ist auf jeden fall nett zu lesen, wird aber nie ein klassiker, da meiner meinung nach die gewisse intensität fehlt, die sich durch american psycho zieht. trotzdem hat es mir auch diesmal spass gemacht mir ein bild von der Model-society in New York zu machen. die Spitzen auf im Buch genannte "Berühmtheiten" haben mir auch gut gefallen. alles in allem: oberes mittelfeld
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Must it really be that overdone?
The last thing I expected after the first pages was an ex-supermodel world conspiracy with its moles, deceptions and killings. Lesen Sie weiter...
Veröffentlicht am 26. Juli 2002 von Markus Isch
more ambitious
After reading some of the reviews on this page I very much doubt this book has found the audience it deserves. Lesen Sie weiter...
Veröffentlicht am 21. August 2001 von Christian Strowa
Schön zu lesen
Das Buch ist nicht ganz so krass wie American Psycho aber nicht viel schlechter ! Ich habe Seite für Seite genossen und kann denn Titel nur empfehlen !!
Veröffentlicht am 27. Juli 2000 von deasen@gmx.net
"There was no time...
when you nor I nor these kings did not exist." I wonder how many people caught that. I'm not sure if Ellis did himself. Lesen Sie weiter...
Veröffentlicht am 21. Juli 2000 von David Butcher
High expectations will lead to disappointment.
After reading American Psycho and The rules of attraction I considered myself somewhat of a BEE fan and eagerly anticipated reading Glamorama. Lesen Sie weiter...
Veröffentlicht am 13. Juli 2000 von Melissa Thompson
The sad story of Bush Junior
This book explains how now Candidate Bush came from being a nasty, drunken and wasted Daddy's boy to being the succesful, energetic self he is now. Lesen Sie weiter...
Veröffentlicht am 12. Juli 2000 von "alesclandre"
The latest version of the single Bret Easton Ellis novel.
Bret Easton Ellis has done a remarkable job of selling the same book again and again and again, and "Glamorama" is the latest incarnation of his single story. Lesen Sie weiter...
Am 30. Juni 2000 veröffentlicht
Beautiful People in a Really Bad Book
The only thing vaguely interesting about this book is that it takes place around beautiful and famous people. Lesen Sie weiter...
Veröffentlicht am 27. Juni 2000 von Corry Prohens
Confusing, but Enjoyable
Glamorama, Bret Easton Ellis' latest book was, to me, very entertaining and interesting. At times, I was so confused, I backtracked to see if I had missed anything, but the plot... Lesen Sie weiter...
Veröffentlicht am 16. Juni 2000 von mary
The Same Old Note, Playing In A New Time.
BEE taps one key on a piano. Let's shock the reader. So after playing out the shock of the America's youth growing up too fast, he writes a contreversial book about a serial killer... Lesen Sie weiter...
Veröffentlicht am 4. Juni 2000 von Brendan
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