Fight Club 2

I’m a big fan of Chuck Palahniuk’s books. When I read his work, I feel as if I am being spoken to by someone from my own generation and background, someone who shares my view of the world and who has struggled with some of the same existential issues that still trouble me to this day. Fight Club, in particular, is a book in which I see myself mirrored. The nameless main character’s self-alienation, and his absurd struggle to come to terms with the contradictory impulses welling up within him are so accurately and honestly described that I feel spiritually naked in the book’s presence. Fight Club is a book that leaves almost nothing hidden, and the movie version conceals even less.

This is not to say that all of Palahniuk’s books are equally successful. Sometimes, as in Haunted, his storytelling feels haphazard to me, as if constructed out of bits and pieces that don’t fit organically and that are strung together with too little consideration for logical or thematic consistency. In the case of Haunted, the whole narrative seems like a pretense to collect together a series of short stories, uneven in quality (though the story “Guts” is brilliant!), that would otherwise have had no home. This is an approach that works better in Stranger Than Fiction: True Stories, but only because that book has no pretense toward being anything other than a collection of disparate tales. In this way it is more honest than Haunted.

And now there is Fight Club 2. Assembled out of a series of comics (Fight Club 2: #1- #10), this graphic novel reintroduces the characters from the original story, continuing the saga of the narrator’s struggle with his inner alter-ego, Tyler Durden. While I was hopeful and eager once again to find personal resonance with these characters, in Fight Club 2, there is a jagged, pieced together structure to the storytelling, reminiscent of Haunted, which unfortunately makes the work confusing and just too jumbled and chaotic for my tastes. Add to this Palahniuk’s insertion of himself into the narrative – as a commentator on the cultural mythos of Fight Club – and what results is something so self-consciously postmodern and filled with “in” jokes that it fails to succeed as a stand-alone work of literature. It is, as the UPC code on the back cover indicates, more of a “media tie-in” than an original and serious work of fiction.

In Fight Club 2, the nameless narrator from the first book now has a name: Sebastian. Following his original mental breakdown, Sebastian is now on antipsychotic medication and married to Marla Singer with whom he has had a son. Despite (or because of) his newfound “tranquility,” Sebastian remains self-alienated, angst-ridden and unhappy. His marriage is falling apart, his son is starting to exhibit some of the same anti-social tendencies as his father, and he feels as if he has sacrificed greatness for conformity and domesticity.

One of the clever twists in this story is Marla’s sexual dissatisfaction with Sebastian, which inspires her to replace his anti-psychotic medication with aspirin so that the repressed passion of Tyler Durden can once again make its appearance in the bedroom. The problem is that once unlocked, this passion cannot be safely tucked away again, and so the rest of the story chronicles the chaos and destruction that is unleashed as Tyler Durden takes over Sebastian’s personality. In a side story, Marla imagines herself to be part of some sort of military mission (searching, I think, for Sebastian and/or their son), conducted along with members of a Progeria Syndrome support group. This confusing thread seems intended to demonstrate, as one of the commentators within the story suggests, that Tyler Durden “is some sort of infectious mental virus,” (p. 188) passed from Sebastian to his son and to Marla. At this point in the novel, I started to lose track of the logic of the narrative.

It seems that Palahniuk also lost track, since increasingly as the book comes to an end, he inserts himself into the story, again and again, along with a group of wine drinking women, interrupting the narrative to discuss just what it is that is going on. They debate the direction the story should go, and Palahniuk confronts a mob of fans – passages from the original Fight Club tattooed on their bodies – who are upset with his handling of this sequel. Incongruously, the final chapter of Fight Club 2 – titled Fight Club Ending Redux: The End of the Original Novel, Revisited – departs from everything else that has so far transpired and instead retells the conclusion of the first novel, now depicted in comic book form.

I appreciate that in Fight Club 2 Palahniuk is reflecting on how odd it is to be the author of a story that has now become the source of a modern mythology. Fight Club (both the book and the movie) have grown bigger than the author himself. No doubt, there is a crushing sense of responsibility that goes along with trying to write a sequel to this kind of material, and there has to be a great deal of fear that anything he writes will more than likely disappoint many fans, all of whom have their own expectations of where the narrative should go and what should happen next. In trying to write a sequel to Fight Club, there is no way to please everybody.

And while I appreciate Palahniuk’s attempt to struggle with this fact, the problem for me is that his meditations and reflections in Fight Club 2 are not well integrated into the story itself. As one of the wine drinking women within the book suggests, all of these self-conscious breaks in the narrative are just “too Meta,” (p.89), dragging down the plot and distracting us from becoming immersed in the themes that made the original story so powerfully effective.





The Abject Self

pic2606467.pngI’m near completion of the last essay for a collection I’ve been working on for a few years now. The tentative title of the book is Cinematic Nihilism: Encounters, Confrontations, and Overcomings. It addresses the theme of nihilism in a variety of motion pictures, and considers whether the common enthusiasm for overcoming nihilism is, perhaps, inadvisable.

I hope to have the manuscript finished and polished enough to shop around to publishers later this year. We’ll see how things go!

Here is the introductory section to the essay I am now working on, titled “The Abject Self: Apocalyptic Consequences of Self-Discovery in Fight Club”:

Is it possible that there might be some truths about ourselves best left undiscovered?

Thousands of years ago, the admonition to “know thyself” was inscribed at Delphi, and it came to be regarded by philosophers as a guiding principle, promising to lead in the direction of authenticity and spiritual fulfillment. Beyond all else, so this ancient wisdom claims, it is the soul that is important, and in order to take care of the soul, one must reflect upon and interrogate one’s self in order to uncover who one truly is. This was the message of Socrates, still considered by many to be the most fully perfected philosopher in the history of the West. According to Socrates, “the unexamined life is not worth living,” and so he became dedicated to questioning himself and all of those around him in the hope that by clearing away the accumulated pretenses and falsehoods of popular belief, he would reveal something true and real about the human condition. So important was his quest for self-perfection that Socrates preferred death to silence when presented with this choice by his fellow citizens.

If we believe Plato, Socrates’ most faithful student, what Socrates ultimately revealed was that the Truth is both beautiful and good. Human reality, when properly understood, is a reflection of an immutable, unchangeable and magnificent ideal that illuminates our inner, spiritual world, the way that the sun shines down on the outer, physical landscape of the earth. We lose sight of this ultimate Truth due to the distractions of our base appetites and emotions, but, the Platonic Socrates teaches, we might reconnect with this Truth ­– The Good ­– if we diligently engage in a systematic, dialectical investigation into the depths of our being. By degrees this Truth might be recovered, and when it is, we may potentially be transformed into something better and more pure. Philosophy, in this Socratic/Platonic sense, is the path toward spiritual perfection. This optimistic message has, to varying degrees, been the message of all philosophy ever since. Even when the truth articulated by some later philosophers – such as Schopenhauer and Nietzsche – appears to be painful and terrible, it is still cherished precisely because it is true, and in this there is presumed to be something both noble and virtuous.

But what if this is wrong? What if the truth is neither beautiful nor good, but rather abject, horrifying, destructive and evil? Would it still be advisable to love such a truth or would it rather be advisable to recoil from it, reject it, and struggle to forget it? Supposing this truth was a truth about the self? Would coming face to face with it spur one to renounce the inscription at Delphi, flee from self-realization and inspire the desire to reassert some sort of comforting, soothing lie?

We no longer live in optimistic times, and so these sorts of questions are raised with increasing frequency. Our world seems permeated with a fear of the truth and a suspicion that all is not well in the depths of existence. Consequently, our culture has produced an increasing number of popular parables warning us of the danger that threatens if we peek too persistently into the human soul. These parables suggest that what is potentially revealed by such scrutiny may be enough to destroy the philosophically curious individual while also potentially unleashing forces powerful enough to annihilate human civilization itself. The lesson they teach is that perhaps it is best to keep the ugly truth lying at the foundation of the human soul hidden, locked away and chained beneath consciousness.

Fight Club is one of these contemporary parables. Both the novel and the film have enjoyed tremendous popular success, becoming woven into the fabric of American popular culture. It is clear that this story has struck a very deep and meaningful chord in audiences; not just among young men, but among males and females of all ages who resonate with this angry and ironic story of an unnamed narrator’s struggle against the forces of civilization and his absurd attempt to reclaim his authentic self. The story is both revolutionary and conservative at the same time. On the one hand, it appeals to the longing for individual liberation; the freeing of base and primal desires and the unfettered expression of libidinal urges. On the other hand, it also depicts the frightening consequences that follow from the emancipation of repressed human fury, and how once unleashed this fury propagates according to its own logic, threatening to dismantle civilization itself. Personal authenticity, in the end, has fearsome consequences for collective living, and the question that Fight Club brilliantly asks its audience to consider is this: Are you willing to give up the comforts and safety of civilization in order to become individually free?