Wolfe writes on a theme that has been explored by many writers: that of the inevitable collapse of the 1980s yuppie lifestyle but Wolfe’s writing stands out from other novels such as ‘American Psycho’ by Brett Easton-Ellis: the language is so real that every detail is described. The scene is written from the view of McCoy and consists of his thought processes interspersed with direct speech and italicised exclamations. This stuttering, fast paced tone conveys the bombardment of McCoy’s senses; it is Wolfe’s style of ‘new journalism’ that includes expletives and authentic speech. One inmate says to McCoy, “Now gimme the fucking coat,” and contrasted with Sherman’s nervous, long-winded sentences, the polarization of New York society is encapsulated in a tense, uneasy exchange. In fact, once again in true Dickensian style, Wolfe achieves characterisation through speech allowing the momentum of the chapter to remain unbroken but painting vivid pictures of each person. For example, we are told Sherman ‘could smell his own funk of filth,’ and here the alliteration enhances an already powerful phrase, where Wolfe juxtaposes McCoy’s high register with colourful, vulgar language. Indeed, McCoy claims ‘They were looking at him…in this human pen…yellow lunch meat, bread…” and the tone is that of numbness. McCoy is searching for his reborn self, but has not found it yet, and the frequent uses of ellipses symbolize this feeling of loss. The tone is one of sensationalism that quietly derides the self-importance of New Yorkers; both rich and poor, young and old. In fact, the novel’s broad satirical points are encapsulated well in this section, where all layers of society are mocked, in order to bring out the scale of the problems. The passage is relevant to the novel as a whole because it represents the final humiliation. The grimy prison cell contrasts starkly with McCoy’s previously lavish lifestyle making ‘Styrofoam Peanuts’ play a crucial role, structurally- by juxtaposing it with a scene of
Sherman is a victim of a corrupt judicial system and a degenerate ideology (ironically, one to which he subscribed) so why, then is there humour in his degradation? Wolfe writes a ‘mouse clung to the cloth for a moment, them scampered down… ‘Mira!’ One of the Latinos had seen the mouse. A foot came flying out from the ledge. The mouse went skidding across the tile floor like a hockey puck. Another leg flew out. The mouse went flying back towards the ledge.’ The exclamations add vivacity, but more importantly it is Wolfe’s attentions to detail that lend a cinematic effect to the writing, where fine points are picked out, described, before the writing ‘zooms out’ to capture the situation as a whole. The example is a simple graphic image but contributes to the moral scheme of the novel: Wolfe shows that New York’s downfall is a result of small actions that collectively make an ethically deficient society. The actions that Wolfe described above also create a mildly farcical effect, but this does not undermine the tragic undertones: both co-exist, and draw attention to McCoy’s uncomfortable situation. Neither appear misplaced, for the chapter is metasatirical, in that it mocks our ability to ridicule his satirical victims: their vulnerability and flaws are such that it would be hypocritical of readers to pass judgement on them. Like Evelyn Waugh in ‘A Handful of Dust,’ the last laugh lies with the author as when we mock Sherman McCoy and Tony Last, we mock ourselves. This theory is supported by the fact that we empathise with both characters; why? Not only do we identify with their predicament, we subconsciously excuse our own blemishes and follies when we excuse McCoy’s behaviour. The sympathy is an effort by the readers to purge their own misdemeanours, so allowing Sherman to wallow in his self-pity simply raises us to a level above him, in our minds.
Word Count: 836
