The centre of the world: 1990s Manhattan. Victor Ward, a model with perfect abs and all the right friends, is seen and photographed everywhere, even in places he hasn’t been and with people he doesn’t know. On the eve of opening the trendiest nightclub in New York history, he’s living with one beautiful model and having an affair with another. Now it’s time to move to the next stage. But the future he gets is not the one he had in mind.
'Does for the cold, minimal '90s what American Psycho did for the Wall Street greed of the '80s. You name it, he manages to get it all in’ Vogue
'Gets under the skin of our celebrity culture in a way that is both illuminating and frightening' Daily Telegraph
'A Bonfire of the Vanities? Glamorama is more like a Semtex attack on our superficialities' Face
‘An epic that takes his blank surrealism into a realm equalled only by DeLillo’ Arena
‘A master stylist with hideously interesting new-fangled manners and the heart of an old-fashioned moralist’ Observer
‘Brilliant . . . He is fast becoming a writer of real American genius’ GQ
'An American masterpiece' Scotland on Sunday
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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
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