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Q&A with Bret Easton Ellis - Page 3


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Q: You have said in the past that you based the character of Patrick Bateman from American Psycho on your father so seeing the new novel dedicated to him made me wonder if your feelings toward him have changed. Moreover, in Lunar Park, Bret has some tough times with his son Robby and vice versa—do you think it’s as difficult to be a “good son” as it is to be the “perfect dad”?

A: My feelings have changed. You get older, you mellow out. My father was a tough case and there was a lot of damage done.

But since his death in 1992—and writing about the feelings I have experienced and that are detailed throughout Lunar Park—obviously I’ve thought about him differently than I did, say, when I was writing Glamorama (which I had begun writing while he was still alive), which at the heart of its conspiracy concerns the relationship between a father and a son.

To a certain degree I’ve worked out a lot of issues I had with him, but I think a residue of anger and defeat will always exist.

A child should never even think about being a “good son.” A parent decides that fate for the child. The parent encourages that. Not the child himself.

And the “perfect dad”? I shudder at thinking what that may be.


Q: There are a series of young boys who go missing throughout this novel. Are you writing about all the ways young boys get lost?

A: I really wasn’t thinking of them as “young boys”—I was thinking of them more as sons and children and how ultimately, at some point in their lives, they “leave” their parents.

And again, I feel disinclined to demystify what that particular metaphor used throughout Lunar Park means to me.

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