For the first time so far, this chapter really belongs to Price in that we see a completely different side to him and so, a completely different side to the Wall Street socialite "stereotype" that we’ve been shown in the first four chapters. Don’t get me wrong, this chapter is still riddled with all the things you’d expect to find in a New York nightclub filled with rich, white businessmen, that being tuxedos, expensive drinks, a "Chandelier Room," and of course, cocaine.
This chapter begins with one of the most beautiful sentences that I’ve ever read, “I’m positive we won’t get seated (at Pastels) but the table is good, and relief that is almost tidal in scope washes over me in an awesome wave.” This being Bateman’s narrative I am reminded of his extensive intellect, an aspect of his character that I believe often goes forgotten. His sizable relief is due to not being turned away from one of New York’s bar scenes, which I imagine is much like one of Ellis’ socialite’s own personal Holocausts. Quite ridiculous to you and I, I know.
This chapter seems relatively pointless in regards to the narrative of the book. Oddly, however, I think this is the point. Ellis wants us to sit through the pointless exchanges between Bateman and his associates to establish a real difference between us as readers and the character archetypes that he has given us. Because this chapter is just one big irrelevant exchange about unimportant things. But to Bateman, the topics covered at Harry's (a gentleman's club) are of the utmost importance.
This was the most solid block of text across four pages that I've ever laid eyes on, with almost no direct quotes or dialogue. This chapter is nothing more than an extremely fine-tuned description of Patrick Bateman's highly eccentric apartment and his typically eccentric daily routine. The specificity as well as the ease with which he is able to recall such a lengthy process is frightening. To give an idea of some of the description, my personal favourite of this chapter was...
It is worth pointing out that I have seen the film adaptation of this book multiple times and therefore I am approaching its key ideas and messages from a slightly different perspective than someone to whom the book is completely new. With that out of the way, I'll begin.