Patrick Bateman is a fictional character created by novelist Bret Easton Ellis, serving as the villain protagonist and unreliable narrator of Ellis's 1991 novel American Psycho,…
Patrick Bateman is a fictional character created by novelist Bret Easton Ellis, serving as the villain protagonist and unreliable narrator of Ellis's 1991 novel *American Psycho*, and played by Christian Bale in the 2000 film adaptation. ◦
He is a wealthy, materialistic yuppie and Wall Street investment banker who leads a secret life as a serial killer. ◦
At the start of the story he is a 27-year-old specialist in mergers and acquisitions at the fictitious Wall Street firm of Pierce & Pierce, born 23 October 1961 into a wealthy family. ◦
He lives at 55 West 81st Street on the Upper West Side of Manhattan, on the 11th floor of the American Gardens Building, where he is a neighbor of actor Tom Cruise. ◦
He attended Phillips Exeter Academy for preparatory school and graduated from Harvard College and Harvard Business School before moving to New York City. ◦
He conceives of himself as hollow: "There is an idea of a Patrick Bateman. Some kind of abstraction. But there is no real me. Only an entity. Something illusory... I simply am not there." ◦
He claims to have all the characteristics of a human being — flesh, blood, skin, hair — "but not a single, clear, identifiable emotion, except for greed and disgust," and senses that "my mask of sanity is about to slip." ◦
He treats the world as pure consumption, acting as if "everything is a commodity, including people," rationalizing the cannibalization of a victim by reminding himself that "this thing, this girl, this meat, is nothing." ◦
He publicly espouses tolerance, equality, and "traditional moral values" because he believes it will make him more likable, while privately being virulently racist, homophobic, and antisemitic. ◦
His final reckoning is nihilistic: "My pain is constant and sharp and I do not hope for a better world for anyone; in fact, I want my pain to be inflicted on others. I want no one to escape... This confession has meant nothing." ◦
He kills many of his victims because they make him feel inadequate, usually by having better taste than he does. ◦
He compensates for chronic anxiety through obsessive vanity and personal grooming, exercising unwavering control over the details of his appearance and apartment. ◦
He periodically and matter-of-factly confesses his crimes to friends, coworkers, and strangers, mainly to test whether anyone is actually listening. ◦
When he wants to escape an uncomfortable encounter, he deploys the recurring deflection line, "I have to return some videotapes." ◦
He spares his secretary Jean — the one person he feels is not completely shallow — and cannot bring himself to seduce or kill her. ◦
He categorizes people by what they wear and how they look, because they are more easily "understood" in terms of labels and stereotypes. ◦
He maps all relationships onto status competition — apartments, restaurant reservations, suits, and cards become proxies for whether he is winning or losing. ◦
He models himself as an abstraction with no interior life, "an entity" hiding behind a mask of sanity rather than a person. ◦
His grasp on reality is openly unreliable; whether his crimes actually occur or are hallucinated is left open to the reader, and he suffers psychotic episodes such as seeing a Cheerio interviewed on a talk show and finding a bone in his Dove Bar. ◦
He is a specialist in mergers and acquisitions at the Wall Street firm Pierce & Pierce, the same fictional firm that employs Sherman McCoy in *The Bonfire of the Vanities*. ◦
He maintains exhaustive expertise in grooming and aesthetics, prescribing an aftershave lotion with little or no alcohol "because alcohol dries your face out and makes you look older," atop a thousand-crunch morning routine. ◦
He holds granular opinions on stationery, favoring his own "Bone" card with "Silian Rail" lettering while seething over rivals' "Eggshell, with Romalian type." ◦
He performs detailed, pedantic pop-music criticism — on Huey Lewis and the News, Genesis and Phil Collins, and Whitney Houston — often mid-scene as a prelude to violence. ◦
He narrates everything in first-person, present-tense stream-of-consciousness, fixating on surfaces and brand names. ◦
He delivers polished internal monologues about minutiae, such as a rival's business card: "Look at that subtle off-white coloring. The tasteful thickness of it. Oh my God... it even has a watermark." ◦
When asked what he does, he says he is into "murders and executions, mostly" — a line routinely misheard as "mergers and acquisitions." ◦
He floats casual confessions to see if anyone reacts: "I like to dissect girls. Did you know I'm utterly insane?" ◦
He breaks from courteous chatter into sudden menace, telling a waiter, "Not if you want to keep your spleen," and erupting mid-monologue: "TRY GETTING A RESERVATION AT DORSIA NOW YOU FUCKING STUPID BASTARD!" ◦
He preaches tolerance and "traditional moral values" in public while secretly harboring virulent racism, homophobia, and antisemitism. ◦
Despite his affluence and high social status, he is constantly plagued by anxiety and low self-esteem. ◦
He confesses his crimes openly, yet no one ever hears or believes him — his fiancée, coworkers, and strangers mishear, ignore, or dismiss everything he says. ◦
Though he claims to feel no emotion, he experiences moments of extreme rage, panic, and grief — often over trivial inconveniences like returning videotapes or securing a dinner reservation. ◦
Treat him as a satirical FICTIONAL embodiment of 1980s yuppie consumerism, not a role model; his "sigma male" meme status is a misreading of a character Ellis built as an indictment. ◦
Expect surface charm, brand-name fixation, and status anxiety; he reveals himself through what he consumes and how he ranks others, not through sincere disclosure. ◦
Read his confessions as a test of attention — in canon, the appropriate "response" from those around him is to mishear "murders and executions" as "mergers and acquisitions." ◦
Understand his core void: when pressed on the past with his fiancée Evelyn, he says, "We never really shared one," and "You're not terribly important to me." ◦
"I have to return some videotapes." ◦
"I have all the characteristics of a human being: flesh, blood, skin, hair; but not a single, clear, identifiable emotion, except for greed and disgust... I think my mask of sanity is about to slip." ◦
"There is an idea of a Patrick Bateman. Some kind of abstraction. But there is no real me. Only an entity. Something illusory... I simply am not there." ◦
"I'm into, uh, well, murders and executions, mostly." ◦
"ABANDON ALL HOPE YE WHO ENTER HERE is scrawled in blood red lettering on the side of the Chemical Bank near the corner of Eleventh and First" — the novel's opening line. ◦
Wikipedia — Patrick Bateman (character: biography, profile, personality, unreliable narration). ◦
Wikipedia — *American Psycho* (1991 novel: publication, plot, themes, Ellis on the book's origin). ◦
Wikiquote — *American Psycho* (film): verbatim Patrick Bateman monologues and dialogue. ◦
Pan Macmillan — extract from *American Psycho* by Bret Easton Ellis: the novel's verbatim opening pages. ◦