El Neorrealismo de Bret Easton Ellis : escenas costumbristas de una sociedad postmoderna
AuthorsRamón Torrijos, María del Mar
IdentifiersPermanent link (URI): http://hdl.handle.net/10017/5039
Universidad de Alcalá de Henares. Servicio de Publicaciones
REDEN : revista española de estudios norteamericanos, 2000, n. 19-20, p. -50. ISSN 1131-9674
Bret Easton Ellis's fiction and the works of others writers of his generation (Jay Mclnemey, Michael Chabon. Jay Mclnemey, Tama Janowitz...) dramatize the new freedoms and penis of the excesses of consumer society and the sometimes violent personal alienation that can accompany it. The importance of much of this writing lies less in its aesthetic invention, which is often considerable, but in the fact that it depicts a society more aware of itself as the product of complex and chaotic times. Ellis's novéis and most of this new writing of 1980s may have moved closer to realism and to some degree away from radical innovations of form. But Ellis's fiction still displays many of those innovations its merging of the true and the false, it distrusting of established forms, genres and canons... In addition it represents a realism of a new kind, less concemed with the mimetic representation of reality, and more devoted to exploring the unreliable borders between the outward worid of history and the imaginary life of fiction. This more recent writing has won the name 'neorealism' because it has tended towards an ironic or neutral report on contemporary American life, displaying manners and social processes and exploring the pluridimensionality of contemporary experience.