Riddled with intertextual references and notorious for their explicit portrayal of sex, drugs, and the occasional rock ‘n’ roll, the novels of Bret Easton Ellis offer themselves for deconstruction to reveal their many interpretational layers. This book argues that Ellis’s novels, often accused of not making sense, make, instead, many senses. Their semantic complexity becomes especially obvious when put under a theoretical lens as provided by Jacques Derrida. His semiotic analysis, which focuses on the instability of meaning and is shaped by key terms such as differance, the trace, and the supplement, offers the ideal framework to look behind Ellis’s infamous obsession with surfaces.

Aimed at aficionados of Ellis’s works, as well as students of contemporary American fiction and literary theory, these chapters discuss the central issues in Ellis’s novels through 2019 and simultaneously offer a new perspective for the practical use of Derrida’s ideas. In order to ensure accessibility, a theoretical chapter introduces all the concepts necessary to understand a Derridean analysis of Ellis’s fiction. As Rip says in Imperial Bedrooms: It means so many things, Clay.