Imperial Bedrooms. As Dante’s hell is circular, so is Bret Easton Ellis’s L.A. Everywhere in Imperial Bedrooms there is a sense of time frozen, time collapsed and time rounding back on itself in various diabolical ways.
The novel marks a return to the characters of Less Than Zero, twenty-five years on, where it’s still the same old scene, camera flashes and sun-blinded gloss--only this time, there’s a persistent echo of unease, the sadness of moving in a young world while no longer young in it.
Clay, casting teenagers for his eighties period film, ominously named "The Listeners," finds himself eyeing the sixteen-year-old actors dressed in the style of his youth and thinking they are friends of his, though of course they aren’t.
The novel marks a return to the characters of Less Than Zero, twenty-five years on, where it’s still the same old scene, camera flashes and sun-blinded gloss--only this time, there’s a persistent echo of unease, the sadness of moving in a young world while no longer young in it.
Clay, casting teenagers for his eighties period film, ominously named "The Listeners," finds himself eyeing the sixteen-year-old actors dressed in the style of his youth and thinking they are friends of his, though of course they aren’t.