"The general snootiness about (Jonathan) Franzen's success that you could smell wafting off the literary scene grossed me out and became indicative of something ominous to me." I was tired of all the gossip and of watching people suck up to editors and agents and writers because they felt they had to stay connected. who got their story published in The Paris Review. who got an excerpt of their forthcoming novel in The New Yorker and who didn't. "I was tired of hearing people complain about the size of other people's advances. He added: "The publishing scene got too claustrophobic, too cliquey, too irritating. I hung out with my own friends who were my age." "That whole 'brat pack' thing - Jay McInerney and Tama Janowitz - was a myth. "I never felt that I belonged in the literary scene of New York," Ellis says. AMERICAN Psycho author Bret Easton Ellis says New York's "cliquey" and "claustrophobic" literary scene drove him nuts.Įllis, who burst onto the scene in the 1980s with Less Than Zero and fled to his native LA two decades later, tells The Paris Review's 200th issue that decapitation would have been preferable to any more New York publishing parties.
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