Writing Style
Writing for The Observer, Alison Kelly of the University of Oxford observes the novel's "philosophical" qualities, and opines that its "thriller-style hints and foreshadowings... form part of a metaphysical investigation." Kelly describes it as "existentialist to the extent that it confronts the minimal limits of identity" and an exposé of the worst depths of human nature. She further argues that the novel's motif of facial recognitions amounts to the message that people should be read "at face value", and that furthermore, past action is the greatest indicator of future behaviour, leaving no room for "change, growth, self-reinvention". In terms of stylistic literary changes, Ellis also displays more fondness for the Ruskinian pathetic fallacy than in previous works. For the most part, the novel is written in Ellis' trademark writing style; Lawson refers to this as "sexual and narcotic depravities in an emotionless tone." With regard to this style, Ellis cites precursors to himself, particular the work of filmmakers. Ellis feels that the technique itself gives the reader a unique kind of insight into the characters, and comments that "numbness is a feeling too. Emotionality isn't the only feeling there is." In terms of style, Ellis told Vice that he enjoyed his return to minimalism, because of the challenge of "rying to achieve that kind of tension with so few words was enjoyable to do." While some reviewers of popular fiction derided Ellis's style as "flat", others found it unexpectedly moving.
Read more about this topic: Imperial Bedrooms
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