En fait, c’est pas marrant du tout. Quel sacré pignouf, celui-là.
“When did people start identifying so relentlessly with victims, and when did the victim’s world view become the lens through which we began to look at everything?” So begins Bret Easton Ellis’s take on, of all things, Barry Jenkins’s film “Moonlight,” which he describes as “an elegy to pain.” Ellis’s first work of nonfiction, “White,” is an interlocking set of essays on America in 2019, combining memoir, social commentary, and criticism; more specifically, it’s a sustained howl of displeasure aimed at liberal hand-wringers, people obsessively concerned with racism, and everyone who is not over Donald Trump’s election. His targets range from the media to Michelle Obama to millennials (including his boyfriend). Ellis also defends less popular people, from Roseanne Barr to Kanye West, whom he perceives as having been given a raw deal by the mob.