 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 , [ or ] 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 " [ t ] 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 . 
