Product Description

In this seductive and chillingly nihilistic novel, Bret Easton Ellis, bestselling author of American Psycho, returns to Los Angeles, the city whose moral badlands he first surveyed in Less Than Zero. His characters go to the same schools and eat at the same restaurants. They have sex with the same boys and girls and buy their drugs from the same dealers. And their interactions delineate a chilling, fascinating, and outrageous descent into the abyss beneath the gorgeous surfaces of L.A.

Product Details

• Amazon Sales Rank: #252328 in Books
• Published on: 2009-03-31
• Released on: 2009-03-31
• Original language: English
• Number of items: 1
• Binding: Paperback
• 240 pages

Features

• ISBN13: 9780307473325
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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From Publishers Weekly
This tedious successor to American Psycho , a patchwork of interrelated vignettes about a set of filthy rich L.A. families in the early 1980s, weds Ellis's over-the-top if one-dimensional satirical style to the sensational hedonism characteristic of Danielle Steel and the spiritual malaise of Douglas Coupland. Mobilizing his trademark first-person narrative voice, Ellis charts an amoral hyper-elitist social landscape from the interchangeable perspectives of debased Hollywood players, pseudo-celebrities and industry brats. There is Cheryl, an aging newscaster who shacks up with a narcissistic surfer and stops showing up for work; Bryan Metro, a vacuous American pop star who tours Japan leaving a wake of battered groupies and pharmaceutical bottles; Jamie, a vampire who lures teenagers home from trendy clubs and murders them in sadistic scenes reminiscent of American Psycho . Ellis's often racist characters crisscross an L.A. littered with the trendy iconography of the early 1980s (Wayfarer sunglasses, Duran Duran, designer drugs), their affectless, inarticulate sentences registering a jaded disdain for other people's lives. Ellis does not break new ground here but returns, perhaps nostalgically, to the cultural context of his celebrated first novel, Less Than Zero . Ultimately, this book is so inconsequential that it should neither vex Ellis's critics nor gratify his fans. 50,000 first printing; QPB alternate.
Copyright 1994 Reed Business Information, Inc.

From Library Journal
Although billed as a novel, this work reads like a collection of 13 loosely related short stories. The characters in Chapter 1 reappear in the last chapter, and Jamie, whose death occurs in Chapter 2, may be the vampire named Jamie who later appears. None of this much matters, however, since the characters have no personality anyway. Every chapter is told by a different narrator, further preventing the reader from connecting to the characters. Set in Eighties L.A. like Ellis's debut, Less Than Zero, the book makes endless, almost obsessive references to obscure bands, upscale restaurants, and clothing of the time. For Ellis, this seems to have been a time when "people [were] becoming less human...everyone [was] operating on a very primitive level," but, unfortunately, the effect is of an era safely past. The Informers has fewer gruesome scenes than American Psycho, and its affectlessness renders them less powerful. Still, this is a disturbing book that will be requested by patrons familiar with Ellis's work.
Nora Rawlinson, formerly with "Library Journal"
Copyright 1994 Reed Business Information, Inc.

From Booklist
The author of the much-reviled American Psycho (1991) revisits the country of his Less than Zero (1985) with another portrait of rich, coke-snorting, dead-end kids and their philandering, Porsche-driving, Librium-, Valium-, and Thorazine-addicted parents. Ellis doesn't offer much of a story; instead, he strings together a series of first-person chronicles of characters whose lives are unhappy and meaningless. There's the Beverly Hills wife of a Hollywood producer, for instance, who no longer recognizes her kids, lusts after every adolescent boy she sees, and hangs up on her dying mother because the conversation bores her. Ellis' portrait is exacting and even faintly sympathetic, but the woman is so vapid and unpleasant that it's hard to see what the point is in portraying her--other than the point of pointlessness. For those who were delighted with American Psycho, Ellis throws in a vampire, a pickup artist whose teenage victims are as difficult to care about as their parents. The vampire is racist as well as misogynistic, from which, perhaps, one may conclude that the singles scene in L.A., circa 1983, was dangerous and sad. Ellis certainly has talent; what he lacks is a subject. John Mort

Customer Reviews

A SUPERBLY PENNED VIEW OF THE DARK SIDE

When a cast of vacuous, narcissistic, bronzed Californians indulges in whatever brings them pleasure, Bret Easton Ellis is at his sardonic, cynical best. Culled from sketches begun in 1983 and eventually filling several notebooks, "The Informers" is more a tale of a group's flawed response to its culture than it is a picture of individuals.

Impossibly empty, the characters are predominantly male students who spend little time at their studies. Flouting their parents' checkbooks, they drive expensive cars, wear extravagantly priced clothes, dine at the trendiest spots, and indulge in most forms of chemical escapism.

Punctuated with dark metaphors, the author's text is hauntingly spare, offering no explanation for the characters' lives but simply presenting them. This leaves the readers to judge, gnash their teeth or gape in shocked surprise. There is room for shock. As in Ellis' "American Psycho," some very unpleasant descriptions of mayhem and murder are included.

In an interview Mr. Ellis commented, "What I've always been interested in as a writer is this idea of a group of people who seem to have everything going for them on the outside. Because of that, they have a lot of freedom. The theme of my fiction is the abuse of that freedom."

With his superior intellect and total mastery of his craft, Mr. Ellis presents his theme well.

- Gail Cooke

Well written, exhausting to read
Mr. Ellis' strength is in his realistic dialogue and characters, which is well on display here in this collection of character sketches.

I say character sketches, and not short stories, because that's really what they are. A series of interconnected portraits of the different, intermingling layers of society in LA.

And it is pretty impressive at that. Each of the characters in the book are going through very similar feelings, have very similar problems (spiraling depression, enstrangement from their parents, etc.). Luckily, Mr. Ellis is able to differentiate their characters and situations.

As happens with books of this type, the ending seems to rush together more quickly, and feel more connected than the beginning. And frankly, as much respect as I have for Mr. Ellis' writing, it was exhausting to read story after story. The book is an interesting portrait of a city constantly on the edge of destruction, but there's only so much nihilistic fiction a guy can read before you curl up into a ball in the corner.

As always, Ellis is a writer worth reading. But be prepared: it is a short book, but a long haul.

Had Its Moments
Short stories set in the early 1980's, mostly in southern California. The themes that fascinated the young Ellis are here, as are certain foreshadowings of later projects (the vampire cult of serial killers in one story could almost have been precursors of Patrick Bateman in American Psycho). A few of these tales are self-indulgent to the point of them nullifying any quality they possess because of their smothering shallowness, but there are several works here that stand out. Mostly these stories are character sketches and scenarios and lack anything like rigid plotlines. Fans of Bret Easton Ellis should enjoy these early writings but the average person is not going to feel comfortable with the subject matter or the way Ellis at this point of his career was given so much license to write whatever he felt.