Professional Documents
Culture Documents
Faculty of Arts
Department of English
and American Studies
Michal Minárik
2011
I declare that I have worked on this thesis independently,
using only the primary and secondary sources listed in the bibliography.
……………………………………………..
Author‘s signature
2
Acknowledgement
I would like to thank my supervisor, Stephen Hardy, PhD., for his guidance and patience.
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Table of Contents
Introduction ................................................................................................ 5
1.5 Relevance...................................................................................... 22
1.6 Pleasures....................................................................................... 23
5. Conclusion .......................................................................................... 83
4
Introduction
―The guy who wrote Fight Club‖. Sixteen years after publishing his first
novel, thirteen books later, this is still the most common way people refer to
Chuck Palahniuk. This is not because he would not write another successful
novel (in fact, every one of his works has been sold in millions of copies and
translated into dozens of languages) – this is because Fight Club has become a
Palahniuk‘s first novel not only arose controversy, but it gradually became
immensely popular with a young audience and seems to maintain this status
even today. It remains one of the most quoted movies on the Internet, as it is
perpetually re-created and cited in various ways. The story and its characters
have become popular in the ways not many movies did1 and the way its fans
treat the story is commonly referred to as cult following. A great portion of the
novel himself and his other novels, which lead to creation of similar cult
Palahniuk‘s books are commonly read also by people who do not usually
1
Online stores are full of products with Fight Club motifs, Internet users present quotes from
the movie as their mottos; whole websites are dedicated to amateur artworks inspired by Fight
Club. To be discussed further in thesis.
2
Even his official fan-created website itself is titled ―The Cult: The Official Chuck Palahniuk
Website.‖
5
nature of his writing – ―for some, his work represents mere shock literature,
fiction speaks great truths about the nature of their lives, and for still others,
he‘s merely a ripping good read― (Sartain xvii). Since the cultural revolution
western society has gone through during past several decades effectively
blurred the historical dividing line between high and low culture, it is no longer
possible to assess the literary and artistic value of the form and content of his
writing, but using the scales applicable today one cannot deny the true nature
This diploma thesis has two objectives: First, to analyse Palahniuk‘s first
John Fiske in order to determine potential reasons why the novel has achieved
Palahniuk‘s unique position within the literary scene of today. The second
of the aspects of novels from his later writing periods with the first novel in
The first chapter will provide basic information about Chuck Palahniuk
and his writing career, followed by a brief history of popular culture studies and
which will function as a theoretical basis for analysis of Fight Club. The second
increase the readability of his works. The third chapter will focus solely on the
6
novel Fight Club and the analysis of its popular aspects as defined by John
Fiske, while the fourth chapter will analyse the development of Palahniuk‘s
the author‘s point of view, primarily his own words from numerous interviews
and public appearances will be used as a basis for the analysis in this thesis.
Moreover, since this thesis is primarily focused on the reasons for the success
of his writings, the analysis will concentrate more on the technical and external
1. Basic information
person in order to provide basic information about his life before he became a
successful author, since his experiences had a defining influence on the nature
childhood living out of a mobile home in Burbank, Washington and later, after
his parents divorced, he and his siblings moved to their maternal grandparents‘
cattle ranch.
7
Palahniuk never got to know his father‘s parents as his grandfather shot
his grandmother dead during an argument over the cost of a sewing machine
while their son, Chuck‘s father, kept on watching from under a bed. This short
episode might serve as just a small example of not quite usual nature of his
family and his early life,3 which had a significant influence of his writing, as his
personal experience keeps on being reflected in all his works.4 Either way, it
was his parental grandparents who gave the origin to his unusual surname and
people were referring to them using just their first names, Paula and Nick,
Palahniuk worked for a local newspaper, covering everything from school board
was trying to live the most adventurous life Portland, Oregon provides with
available money, living in various cheap flats with friends and strangers,
drinking, driving, reading and playing endless pranks. Many of his experiences
and experiences of his friends from these years found their way into his novels,
3
He provides more details about his turbulent lifestyle in his non-fictional novels Non-Fiction
(2004) and Fugitives and Refugees: A Walk in Portland, Oregon (2003), as well as the ways
they are reflected in his other novels.
4
Palahniuk incorporates a lot of his personal issues into his novels, often as a way of coming to
terms with certain situations. For example novel Lullaby (2002) was a result of personal
struggle with court trial with his father‘s murderer as Palahniuk was asked to be part of decision
as to whether he should receive the death sentence, therefore the pivotal motive ―What if
words could kill?‖ Moreover, many of the scenes from his childhood are transformed into scenes
in the novels – e.g. family robbing derailed trains late in the night in Invisible Monsters (1999).
8
either as an inspiration (e.g. ―Project Mayhem‖ in Fight Club is a reworked,
as literary adaptations of the actual events (e.g. his friends stealing prescription
drugs from rich people in order to use them for their own needs, which is one
Having decided it was time to do something with his life, Palahniuk made
two important steps that eventually turned out to be defining moves for his
ill patients, encountering death and the cruel reality of the lives of people
that not only inevitably changes the way a person perceives both living and
dying, but in this case also inspires Palahniuk to use the cruel reality of support
groups as an important structural element of Fight Club and later also Choke.
Moreover, he claims that he uses his novels as a means of dealing with the
cruellest moments of life5 and this experience made him face these moments
regularly and thus made him work out the techniques how not to be paralysed
Secondly, and more importantly, he moved from writing just to keep his
mind occupied while waiting for spare parts to attending an actual writers‘
You Lived Here, You‘d Be Home Already not only failed with publishers and now
5
He claims that his novels are always about ―finding a way to laugh at really dark things that
would otherwise keep us paralyzed […] Finding some way to reinvent it in order to be able to
deal with it or at least not to be paralyzed by it‖ (―Stranger than Fiction Interview‖).
9
Palahniuk usually refers to it as ―800 pages of garbage‖, but also the lady who
led the workshop asked him to stop attending as some members of the group
6
just did not feel safe with him in there. Instead, she recommended a
the first few short stories publishable in magazines, among them a seven-page-
him three months to extend this to book-length and three days to sell it to W.
W. Norton for ―kiss-off money‖ (Fight club 216). Chuck Palahniuk was 34 years
old when his first novel was published. He was 36 when 20th Century Fox
released movie Fight Club, starring Brad Pitt and Edward Norton, after success
That applies also to Invisible Monsters (1999), now Palahniuk‘s popular classic,
out book tour in United States, promoting his latest novel Damned, which was
Comedy.8 At the same time, he started actively cooperating with his own online
6
See ―Chuck Palahniuk: Tell-All‖ video.
7
Palahniuk‘s writing style will be analyzed more thoroughly in chapter 2
8
See ―Chuck Palahniuk Goes to Hell‖ interview.
10
writers‘ workshop ―The Cult Writers‘ Workshop‖, providing its members with
essays on craft of writing itself and lately also reviewing selected stories by its
members.
Critics and the author himself usually characterize the writing of Chuck
―fiction in which characters misbehave and act badly, so they commit crimes or
a political acts of civil disobedience‖ (Postcards from the Future). More broadly
genre explore taboo subjects such as drugs, violence, sex, incest, crime,
books‖)
11
Inspired by authors like Kurt Vonnegut and his openly satirical approach, they
audience, using the writing techniques similar to the ones used famously by the
The genre of transgressive fiction (at least in the form it was defined and
used by Palahniuk) was unofficially pronounced dead after the terrorist attacks
on September 11, 2001, after which most of the forms of civil disobedience,
which were typical for it, were regarded as generally unfavourable and most of
soap box and beat a drum for so long before you just turn it into a wallpaper.
Maybe it‘s time that societal commenting has to be charming, seductive and
really entertaining the way it had to be in 1940s and 50s‖ (Postcards From the
Future). This situation forms an obvious breakpoint in his writing career, as the
The four books Palahniuk published before this date (Fight Club (1996),
Survivor (1999), Invisible Monsters (1999) and Choke (2001)) represent the
first period of his writing. These novels share a lot features in common and
The characters of these novels are generally individuals, who have been
marginalized from their societies. They suffer from various kinds problems
9
Influence of these authors on this American literary tradition is briefly discussed in the chapter
2.1
10
Palahniuk talks about the death of the genre in Postcards From the Future and interview in
the essay collection Sacred and Immoral: On the Writings of Chuck Palahniuk, p.179.
12
(physical, mental disorders, serious injuries, family issues, etc.) they are trying
to solve in rather uncommon, and often illegal, ways (stealing, pranks, acts of
non-linear plots and generally violent nature. These are the novels, which are
The novels published in the years after 2001 embody the change
in the quote above. Lullaby (2002) and Diary (2003) still bear some
outcast, non-linear plot12), but are not as violent in their nature anymore. The
subsequent novel Haunted (2005), the third book of this ―horror trilogy‖, is
poem. The short stories generally create horrors about ordinary things of
everyday encounter, while in the first two horrors of the trilogy Palahniuk used
one island).
With the next novels Palahniuk moves to even more adventurous writing
Snuff (2008) is a provocative novel narrated by four people, that was originally
11
As seems to be the case from various Internet discussions and comments of his readers.
These early novels usually are the first Palahniuk‘s books these readers encounter, typically
after seeing the movie Fight Club.
12
Though in Lullaby he already experiments with the plot structure and switches between two
lines of narrative.
13
old exchange student in the USA, using an invented form of very broken
English, Tell-All (2010) is a fictionalized novel from the times of Golden Age of
Hollywood written in a manner of gossip columns of the time, while his most
recent novel Damned (2011) tells a story of a young girl, who wakes up in hell,
using the structure of Judy Blume novels. Damned is intended to be the first in
a trilogy of novels, which will copy the structure of the Divine Comedy.
Palahniuk also published two non-fiction books: a guidebook for the city
he used to live in, presenting interesting places and stories from his past -
Fugitives and Refugees: A Walk in Portland, Oregon (2003) and Stranger Than
the British cultural theorist Jim McGuigan, the concept of popular culture was
based its definition on the distinction between ―learned culture‖ and ―popular
culture‖. Popular culture here stood for ―Romantic reaction to Classicism, the
(McGuigan 10) Since Herder saw this as recovering the impulses, spontaneity
13
See McGuigan 10.
14
of retreat from contemporary forms of national identity and reviving the
and Max Horkheimer, whose critical studies remain one of the most widely
recognized popular culture studies even today. This is the case mainly for a
Industry: Enlightenment as Mass Deception‖, where they coined the key term
―culture industry‖, which replaced the term ―mass culture‖ used in their earlier
works as they state that the popular forms of culture were not only radically
but, moreover, these filtered and identical works can be as well produced
industrially. They present the opinion that ―cultural production has moved from
artisanal stage […] to an industrial stage. For them, the modern culture
Adorno and Horkheimer claim that ―the whole world is made to pass
through filter of the culture industry‖ (Adorno 126), which enables the liberal
democratic society to use capitalist media ―to manipulate the masses and
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consumer culture to buy them off, thereby suppressing critical reason and
Openly criticizing this modern development in the field of culture they warn
culture becomes capitalist system‘s tool for keeping the society in order the way
concept of cultural hegemony, which refers to the ways dominant class block in
It is not only the political aspect of popular culture that Adorno and
Horkheimer criticize – they also focus on its actual form and content, setting
high and low forms of art into a sharp contrast, for which reason their studies
are often regarded as elitist. In their view the suppression of real individuality in
art led to situation, where the filtered forms of art ceased to anything but style,
as all the works are different only on the most superficial level. Popular culture,
which is presented as opposite of ―high art‖, and most of its modern forms,
including television, Hollywood movies, popular music and others are radically
rejected and as they serve for pure entertainment and their generally try to
portrait the world as seductively and realistically as possible, with no real depth.
For this reason Adorno and Horkheimer focus primarily on political aspects of
popular culture and reject possible artistic potential of the modern forms, as
14
See McGuigan 63.
16
This possibility was more deeply investigated at the beginning of the
popular culture is not the primary concern of the book, de Certeau still provides
an important new insight into this branch of studies, as he deals not only with
―strategies‖ of the producers, the structures of power, but also with ―tactics‖
consumers as immigrants in system too vast to be their own and too tightly
popular culture thus becomes a practice of ―making do‖ with what is available.15
considerably more positive than Adorno‘s, he still presents them as useful and
functional means of ruling and forming the society. Unlike the German scholars,
strategies.
The shift towards more sympathetic form of popular culture studies was
narratives, when ―the distinction between high art and popular culture was lost
15
See de Certeau xi – xxiv.
17
because of the uncertainty which now surrounds establishing unequivocal
criteria for judging the value of cultural forms‖ (Watson 57). Blurring, or even
cancelling, the line between the high and the low simplified the radical
carefully analyze these popular texts, some even admire them. This lead to
creating a new epoch in this field and dividing the studies into two contradictory
―The major difference between these early writers and the contemporary
(Watson 60).
The attitude of some of the contemporary critics might seem almost too
for simple-minded masses now has become a cultural text worth detailed
blindly consuming mass society itself. British media scholar John Fiske very
clearly summarized his ideas concerning mass culture in the seventh chapter of
Mass culture is a term used by those who believe that the cultural
upon the people in a way that irons out social differences and produces
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would be the antithesis of culture understood as the production and
culture, there are only alarmist and pessimistic theories of mass culture
that, at their best, can shed light only on the industrial and ideological
by which the people cope with them and either reject them or turn them
In this book and in its companion book Reading the Popular (1989) Fiske
Gramsci, Roland Barthes and Pierre Bourdieu. Unlike them, he mostly ignores
practises and goals of the ruling power. Instead, he openly applauds the
popular texts, their ability to match the taste of the general public and mainly
the way the people ―make do‖ with what they are offered.
the mass culture critique at its worst focusing plainly on popular readings,
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which are applauded for no apparent reason.16 Even though he recognizes this
refuses this approach by claiming that a proper analysis should avoid abjectly
uncritical complicity with the prevailing free market ideology and its hidden
powers.
of this thesis decided to use his book Understanding Popular Culture as a main
reference point for analysis of Palahniuk‘s writing, since the primary concern of
serve as a useful means for answering this, while works of other scholars might
Even though Fiske does not deny the fact that popular culture promotes
a set of social values convenient for the ruling power (―white patriarchal
produce culture tailored to the needs and aims of ruling elite and impose it on
consumers. He claims that ―the people are not the helpless subjects of an
16
See McGuigan 70-75.
17
All quotations in this chapter will be from Understanding Popular Culture (1989), unless a
different source is stated.
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popular culture that is created by constant struggle of these two sides and only
then becomes complete. He supports this claim by a quote from Stuart Hall‘s
around the contradiction: the popular forces versus the power-bloc‖ (qtd. in
Fiske 28). Putting more stress on the consumers and mostly ignoring the
tactics the disempowered use to transform the provided culture to their aims
and turn it against the system. This ability to ―make do‖ becomes the most
important aspect of the popular culture and its consumers. Fiske devotes a
major part of the book to the analysis of how people transform the popular
popular among broad body of readers this thesis will use Fiske‘s criteria for the
that might be useful for the analysis of Palahniuk‘s novels, particularly Fight
Club.
based on which people tend to choose the individual instances of cultural texts
and enjoy them. To determine these principles he uses various forms of popular
pleasures, since he claims that in order to be popular the text has to offer a
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certain degree of pleasure. Achieving pleasure is the reason why people
consume the cultural texts in the first place, thus possibility of providing this
its formants this way: ―Pleasure results from this mix of productivity, relevance
and functionality, which is to say that the meanings I make from a text are
pleasurable when I feel that they are my meanings and the they relate to my
1.5 Relevance
the product and its closeness to its reader. It determines the ways and degree
to which the consumer can identify with it and thus becomes the primary
principle for attractiveness of popular text. Fiske states: ―Popular culture has to
be, above all else, relevant to the immediate social situation of the people.‖
must be able to relate to it in some way and thus it has to be rooted in the
immediate reality and ―can never be radically free from the power structure of
the society within which it is popular.‖ (134) This brings us back to the
popular text can never radically deny the social reality. It can oppose it, but
18
All quotations in this chapter and its subchapters will be from Understanding Popular Culture
(1989), unless a different source is stated.
22
Still, relevance is not measurable characteristic. It cannot be globalized
and can only be considered in individual cases. Fiske thus again moves from
―Unlike aesthetic criteria, those of relevance can be located only in the social
situation of the reader; they can reside in the text only as a potential, no a
with it, which would not be possible in case the text were not any relevant to
the individual.
1.6 Pleasures
claims that ―popular pleasures arise from the social allegiances formed by
subordinated people, they are bottom-up and thus must exist in some
them‖ (49).
Fiske divides the pleasures into two main forms: evasion and
both examples from everyday life and theories of scholars like Foucault,
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Bakhtin, Bourdieu and Kant.
self and of the subjectivity that controls and governs the self – the self is
socially constructed and therefore controlled […] The loss of self is, therefore,
the evasion of ideology‖ (50). These forms of pleasure are primarily related to
―centred around identity, social relations and [they] work socially through
social identity, which may or may not confront the dominant ideology. Fiske
stresses that the productive pleasures are pleasurable only because they are
popular text are therefore result of influence activating one or both of the
aforementioned forms of pleasure. Fiske sum this up: ―Popular pleasures, then,
consist of both the producerly pleasures of making one‘s own culture and the
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tied with power relations and the constant quiet struggle of consumers against
subordination. Since the tightly woven system will not let the people escape
completely, they are looking for at least a temporal escape through the cultural
texts, which provide the feeling of evasion or experiences they are not able to
go through in real world. They are looking for the features of unrestricted
existence.
The most literal way to provide these pleasures is through the plot itself,
the behaviour of characters to which the reader can relate and therefore go
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through these experiences himself.
One of the less obvious, yet more explicit, ways of representing these
evasive desires is violence, for general popularity of which Fiske provides social
power and resources are inequitably distributed and structured around lines of
(or other) conflict in society‖ (134). He refuses the notion that the society and
its culture is more violent in its nature because of the in-born blood thirst of the
consumers, claiming that the true reason for popularity of the violent texts is
metaphor for class and social conflict, it cannot be any kind of violence, but
19
Fiske describes several ways in which the consumer can relate to the consumed text,
applying these mechanics on examples of texts like television series Dallas and Prisoner, the
movie Rambo, the genre of romance novels, the pop singer Madonna and many others. Later in
this thesis they will be applied to Palahniuk‘s novels in a similar way.
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obviously a form of violence to which the consumers can relate. Otherwise it
greater portion of the general audience relate to the situation depicted in this
way. To illustrate this, he uses stories from tabloid newspapers. He claims that
sensational stories deviating from the norm are pleasurable because they allow
the consumers to blame the system of their own failures (116). They
subsequently not only have something to relate to and find the story attractive,
but also are able to point-out the failures of the system and deviances from it,
Several of the attractive features with which Fiske deals are related to
the pleasures of the body and aforementioned breakdown of the culture into
nature, which stands for freedom from the oppressive system. He comments on
not one of fairness and equality‖ (100). For these reasons (not only) patriarchal
target of massive control. Fiske includes excerpts from studies by Foucault and
de Certeau, who have analysed the ways the system uses the body as a site for
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exerting social power.
that has traditionally defined the body as the ―terrain of the devil and a threat
to the purity and control of the soul‖ (90) and claims that later also law and
medicine has joined this approach in order to ―exercise social control through
only slim and well built, but also well dressed and clean. ―The meanings of
health are social and not physical, the meanings of beauty are political and not
threaten these standardized ideals and step outside what is allowed. Fiske
mentions two ways a body can escape social control – either through pleasure
or through pain.
be successful with the audience (and which might also be useful for analysis of
20
The law uses a body as a terrain for punishing the unpermitted behaviour, while medicine
uses it to impose social norms of physical and mental health on the individual.
27
Palahniuk‘s works). He explains them on an example of a wrestling match:
of punishment and works as a means for stepping outside the system. During
moment from normality, a symbolic statement of desire for freedom from social
control that the terrified social order can never extinguish or finally discipline‖
mentioned violence.
allowing the consumer to take a step away from the limiting system – dirt.
typical of lower classes and opposed, feared by the elite. It is a loss of control
and it leads for disorder. Moreover, it represents the return to the natural state.
Few of the consumers would prefer to live in dirt and disorder, but they
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categorization of texts as writerly and readerly.21 This new, third category
read and understand, but still lets the readers choose the meaning for
themselves. ―The producerly has the accessibility of readerly one, […] but it
also has the openness of writerly. The difference is that it does not require this
writerly activity, nor does it set the rules to control it‖ (104). It is the kind of
text that enables for popular production and therefore leads to the
necessarily related to the condition of relevance – for the text to provide the
productive pleasure it not only has to enable the reader to relate to it, but also
stimulate them to make their own sense of it and provide enough freedom to
do it.
The freedom that producerly text provides, as Fiske notes, might be one
usually do not provide the consumer with detailed information and prefer
showing to telling, the reader is easily able to transfer the signs into a meaning
that is closer to them. ―Showing the obvious leaves the interior unspoken,
unwritten; it makes gaps and spaces in the text for the producerly reader to fill
from his or her social experience and thus to construct links between the text
21
Readerly text – closed, undemanding, presenting clear meaning, reserved for popular writing;
Writerly text – constantly challenges the reader to rewrite it, make sense of it.
29
production (de Certeau xii), Fiske discusses the stage of consumption
discrimination and productivity. Fans draw sharp and intolerant lines between
what, or who, they are fans of and what they are not‖ (147).
consumers to become part of community and define their identity, but also
decorating one‘s room with posters, through wearing garments with motives
from the favourite popular text, to imitating the lifestyle of the characters or the
like creating personal image in front of the others, finding one‘s place in society
identity through the particular text – all of them favourable to the consumer
particular text.
to make objects, signs or rituals that meet their immediate needs (qtd. in Fiske
150), which, again, leads to de Certeau‘s practice of ―making do‖ through which
the subordinated make their own culture out of the resources of the ―other‖.
30
the original text, texts that represent the missing parts of the original or various
objects with motives from the particular text. These practices generally tend to
provide the consumer with even greater creative pleasure through allowing him
not only to relate to the original text, but also to express oneself.
attractive aspects of popular texts described by John Fiske shall serve as a list
for widespread popularity of his writing. These criteria will be considered mainly
for his first novel, analysis of which will be subsequently compared with
2. Writing style
The subchapter on the writing style of Chuck Palahniuk is based mainly on the
which he usually mentions only influence of Tom Spanbauer and Amy Hempel,
authors. These authors are obviously working out of tradition of the writers
from earlier periods of mostly American literature, who were inspired by aspects
asked by journalists make it obvious that he is aware of the this tradition,22 but
22
e.g. see Sartain 182.
31
he rarely mentions its influence as he clearly prefers to relate his writing more
to imitating the aspects of real life than to literary traditions, with exception of
this subchapter will include a very brief overview of crucial authors that shaped
The first of the important American authors that started to adjust his writing in
into his works and considerably improved their readability. In order to portray
the life at American south veritably and make the characters speak like real
dialects and regional accents. Besides that he managed to build his writing
environment. His works are, moreover, notable for they usage of humour and
satire, which was lead to even greater popularization of his writing. Mark Twain
tradition.
World War II in Europe, Hemingway concluded that the abstract language was
not effective enough and decided to base his writing on economic, understating
32
approach. Calling his style the ―iceberg theory‖23 Hemingway tended to express
omissions, so the readers have to figure out the meaning themselves, thus both
Jack Kerouac, a Beat novelist and poet, moved this tradition further towards
and others. Breaking the rules of literary writing and becoming a respected
forbidden topics.
Another of the great names of the American literature that should be included
into list of the authors that had defining influence on the tradition, out of which
Palahniuk is writing, is Kurt Vonnegut. Known for his absurdist humour, science
very open, harsh, yet entertaining critique of the contemporary world. Due to
23
―the facts float above water, the supporting structure and symbolism operate out of sight‖
(Baker 117)
33
The aforementioned authors, either due to their innovative style or approach to
literary tradition that allowed for later formation of the genre of transgressive
fiction. What do they share in common both with each other and with the
works available to the readers. This tendency was obviously always shaped by
further in this thesis, nature and form of Palahniuk‘s writing in a similar manner
reflects the period in which it was produced and might thus be seen as one of
reasons for his success with younger readers and that including those who
usually do not read any books. These people tend to prefer different forms of
entertainment that the hi-tech modern world provides and find reading too
slow, too complicated, too boring. Still, these people represent a considerable
form of writing that is simple and dynamic enough to compete with the
24
This chapter concerns with the general characteristics of the writing style Palahniuk utilizes in
most of his books and does not mention various language experiments that became typical of
his later novels. These experiments will be discussed separately.
25
As seems to be the case based on various online discussions, where many people confess
Palahniuk‘s books are actually the only books they read. The author himself commented on this
trend on several occasions (e.g. Postcard from the Future) and tries to encourage these fans to
read more through promoting other authors on his website, during public readings, etc.
34
audiovisual forms of entertainment. Attracting these kinds of readers was his
started writing was to write the kind of books that would bring the people back
from music videos, from video games, back from movies and television and
would serve them in the way that all those other forms of entertainment were
serving them."
As already noted, it took him some time to find the proper means to
attract readers, as his early attempt on long horror novel in a manner of greatly
recently.
made a decision to write just for fun and make the process of writing the
reward itself.27 Combination of the process of simply jotting down funny stories
from the parties and advices of Tom Spanbauer enabled Palahniuk to adjust his
writing style to the form that can be seen in his first successful books.
He was the one who very openly informed him about the nature of his writing
and proposed the solution. As Palahniuk reports, Spanbauer literally said: ―Why
don‘t you just write the way you talk? Because your writing really sucks. You‘re
26
Not much is known about Palahniuk‘s first attempted novel, since it is not available to public.
He only stated that it was a lengthy horror copying Stephen King, which did not go well and
these days he commonly refers to it by various derogatory names.
27
See ―Chuck Palahniuk‘s speech at Grub Street writer conference.‖
35
a really, really bad writer, but you can tell stories, so why don‘t you write the
way you tell stories.‖28 Oral-based language has become Palahniuk‘s new policy
in writing.
various parties and imitating the language they use, his writing acquired the
feel that is much closer to wide public and thus much more accessible – looking
for inspiration everywhere from parties through bars all the way to hospitals,
Palahniuk started to analyze the way people try to ―sell‖ their stories to their
listeners and imitate this style on the paper. ―Telephone sex lines, illness
support groups, twelve-step groups, all these places are schools for learning
how to tell a story effectively. Out loud. To people. Not just to look for ideas, 29
To achieve this dynamism that makes the verbal story telling attractive
and accessible he started to put stress on verbs, paratactic style and fast pace
One thing I don't care for, that really angered me, was fiction that just
plodded along, and would spend a whole chapter discussing the color of
an orange or someone waiting for their tea to cool enough that they
could drink it. I was like, "screw this", I wanted fiction based on verbs,
as I can to get by, but I really think that's the reader's privilege to fill in
28
See Postcards from the Future.
29
Ideas and stories picked up to be analyzed in next chapters.
36
Here Palahniuk‘s previous experience starts to play an important role,
since one of the tools that enables him to draw his writing closer to reality is his
―Palahniuk‘s work is thoroughly versed in tone, style, and genre of the New
critical reception of Palahniuk and the codifier of the term New Journalism, Tom
Wolfe, who defined this new approach as ―some sort of artistic experiment‖
writing that would be more fitting to the new social conditions and would allow
objectivity. They wanted to write their subject matter in a way that became
more alive, less scripted‖ (MacKendrick 10). This effect is achieved by enriching
journalistic writing with literary techniques, while several decades later Chuck
Palahniuk ends up doing the same thing the other way round – he applies
to call any of my novels ‗fiction‘‖ (Non-Fiction xvii). This is mainly due to the
fact that most of his early novels were formed to a certain degree by reshaping
30
This approach was, obviously, applied by many authors before (most notably by Ernest
Hemingway). MacKendrick points out the parallel between Palahniuk and New Journalists
mainly due to the similarly controversial reception and Palahniuk‘s common referring to the
influence of journalism on his writing (―So much of what I do is just journalism. […] Tattle-
tailing, I prefer to call it‖(―Agony Column interview 2005‖).)
37
and combining real-life stories he was told by other people.
―Not Chasing Amy‖ in the collection Stranger than Fiction: True Stories (2004,
word for choruses. These are inseparable part of every Palahniuk‘s novel: short
phrases and formulas repeated with slight changes every once in a while both
unify the fast-running plot and, at the same time, gradually build the general
theme of the story. To include just few examples of ―horses‖, we may mention
now notorious rules of Fight club,32 ―Sorry Mom, Sorry God‖, fashion magazine-
like ―Jump to …‖ and ―Give me [smile, sexi, amnesia, new parents, etc.]. Flash.‖
etc.]‖ and repeated class-action lawsuit ads throughout Lullaby (2002) – these
are just few of the motives that Palahniuk frequently repeats, using different
31
See MacKendrick 13.
32
See Fight Club 50.
38
(philosophy, psychoanalysis, history, education, communication theory,
many ways it preserves this function even today. In literature the smaller
reference.33 By repeating the forms and patterns the author is able to establish
some kind of ritual with the reader. Palahniuk commented on choruses: ―I use
create these little landmark phrases that mark shared experience with each
enables him to create a bond between the book and its reader.
choruses: ―It‘s a way of acknowledging previous plot points […] you turn them
into a chorus or a phrase and then you just refer back to all the emotions of
that previous moment with that really short phrase. Human being do it, so I do
communication into a written text, which is, as already mentioned, one of the
that in his first books choruses were used mainly as a signal of jumping to a
33
See Maguire 113.
39
new angle or aspect of the story and hold these aspects together without
disturbing the reader too much. ―A bland kind of buffer that would be a
touchstone or landmark a reader would need to not feel lost. A kind of neutral
sorbet, like something served between courses in a fancy diner. A signal, like
buffer music in radio broadcasts, to announce the next topic. The next jump‖
(Fight Club 213). Using this technique in the subsequent books he obviously
managed to find more convenient aspects of the choruses and even though his
writing style was gradually changing, the ―horses‖ appear very noticeably in
―Nothing is fed to the reader as ‗fat‘ or ‗happy.‘ You can only describe actions
and appearances in a way that makes a judgment occur in the reader‘s mind.
Whatever it is, you unpack it into the details that will reassemble themselves
himself admits that it was journalism studies that enabled him to employ this
40
detail for readers to create the image for themselves. For example, at the
is set on fire and bride, a fashion model, shots another fashion model with a
shotgun. Main character Shannon, a former fashion model and a friend of both
expensive suit jacket, and confesses: ―It‘s not that I‘m some detached lab
animal just conditioned to ignore violence, but my first instinct is maybe it‘s not
too late to dab club soda on the bloodstain‖ (13). This is the first line by which
Palahniuk characterizes Shannon and the mindset of a woman whose whole life
consisted of showing off in expensive clothes. This way he is able not only to
authenticity with a reader. Steve White explains why this is more effective than
If you tell the readers something, they‘ve no reason to believe you. But
Because readers will always believe their own conclusions. (Novel Dog)
the reader in the novel itself through the means of metafiction. Again, we may
use the very beginning of Invisible Monsters as an example. The book starts
with: ―Where you‘re supposed to be is some big West Hills wedding reception in
a big manor house with flower arrangements and stuffed mushrooms all over
41
the house. This is called scene setting: where everybody is, who‘s alive, who‘s
dead‖ (11). Even though Palahniuk replaces concrete descriptive adjectives with
words like ―some big‖ and breaks the archaic literary rules by addressing reader
reader to imagine it exactly the way it is most natural for them. The same way
for example in the recipes for home-made explosives (―Mix the nitro with
sawdust, and you have a nice plastic explosive‖ (12)) or when just generally
referring to social reality of the reader (―You do the little job you‘re trained to
reader, involving them ―on a gut level‖ – ―You don‘t have to hold the reader by
both ears and ram every moment down their throat. Instead, story can be a
works on a very similar principle as the principle before, but the details are
body. Example from Fight Club: ―With a gun stuck in your mouth and barrel of
the gun between your teeth, you only talk in vowels‖ (13). This kind of an
unusual detail forces the reader to process it, apply it on their own body and
In this essay, Palahniuk does not mention another element that has
42
often hardly provable reliability can be found randomly included in each of his
novels. They are situated seemingly at random and usually provide trivial
particular novel. In Fight Club it is the recipes for explosions, Survivor includes
tips for home chores,34 in Snuff it is sex-related trivia from history and various
etc. Though most of the information can barely be confirmed and in many
cases might seem unbelievable, the author claims that they are true at least up
to his knowledge: ―My journalist's bogey is that if I'm going to use it as a non-
fictional device, it has to be true, as far as I can research it. All the trivia is
true‖ (―A.V. Club interview‖). Several years after this claim, he, however,
Palahniuk uses these pieces of information not only to entertain, but also
to strengthen the connection between the book and reality and thus enable the
―When he incorporates facts into his novels they present historical or scientific
details that key the reader into a stable world‖ (MacKendrick 11). Palahniuk
employs this technique not only through the factoids. In many of his novels he
includes references to actual places, people and events in order to set the
34
―To get lipstick out of a collar, rub in a little white vinegar‖ (Survivor 263).
35
―According to the British anthropologist Catherine Blackledge, the human fetus begins to
masturbate in the womb a month before birth‖ (Snuff 23).
36
―In art school, you learn that Leonardo da Vinci‘s painting, the Mona Lisa, it has no eyebrows
because they were the last detail the artist added. He was putting wet paint onto dry. In the
seventeenth century, a restorer used the wrong solvent and wiped them off forever‖ (Diary 23).
37
This is the case mostly for Tell-All. See ―Agony Column interview 2010.‖
43
narrative as firmly in reality as possible and make the invented story more
non-fiction stuff. Make the little tiny details all true, so people will believe the
really big, outlandish stuff‖ (―A.V. Club interview‖). This approach plays an
important role for example in novels Rant and Tell-All, which will be discussed
minimalism – to tell more by writing less. ―Less becomes more. Instead of the
that has to compete with video games and the Internet. He, again, parallels
Palahniuk with New Journalists who had to compete with television and
electronic media, but as these have been around for several decades by now, it
is time to gear up and keep the tempo with the technological development.
The preference of fast and short forms is apparent also in the structure
based. Individual chapters usually stand for separate episodes and might
remind reader of several short stories linked into a novel. This is the case
stories linked together by a framing story of the people who tell these
short stories, but most of his novels fall into a similar pattern, even if less
obviously.
44
element of his fiction. Firstly, it was the literary form that enabled him to
imperfect lengthy first novel. Moreover, after having several of the short
stories published he found out that he can easily write bridging scenes to
link these stories into actual novels, which were much easier to sell to an
with his later novels when he did not have to struggle to find a publisher
have always been really my highest priority." (―Speech at Grub Street writer
conference‖).
influence. It was under his guidance that Palahniuk moved from eight-
‘If you can't do it in seven pages, you sure as hell can't do it in seven
hundred.‘ So seven pages was the ideal length for a story. And seven
pages, I could keep that hidden at work and I could pull that out and
line edit it in work at any time I wanted to. You could put seven pages
underneath a track manual and no one will ever find it. (―Speech at
38
See ―Speech at Grub Street writer conference‖.
45
Grub Street writer conference‖)
This way he could carry on writing even when in work, just to keep his
mind occupied during the long breaks between individual repairs, working on
short stories and carefully editing them the way they would constantly hold the
attention of other members of the workshop for whom he had to read them
aloud, which was another Spanbauer‘s strategy how to analyze a story. All the
stories had to be short enough to be read aloud in full and analyzed word after
word. This way the students were able to both keep the story ―dangerously‖
dynamic and pay full attention to every word. Concerning the function and
By reading out loud you instantly find out where you've overwritten,
where the energy starts to fade. [...] I know the purpose of each
stop us and would say 'Ok, why did you chose that word?' And at any
case for even the smallest aesthetic choices. So you really had to reason
them out even before you put them on the page. (―Agony Column
Interview 2010‖)
the oral forms of presentation, as he was advised earlier on. Moreover, with
these readings occasionally taking place in various sports bars or pool halls, he
regularly had a chance to confront his writing with laic general public, who do
46
not usually care for literature at all. Minimalistic approach obviously proved to
be a tool that allows to produce literature that is successful also with this kind
techniques, but also through the general simplicity of the structure. On one of
You really keep your elements really paired down. [...] You do the very
most you can do with very minimal number of elements. And this
includes your objects as well as your characters and your settings. That
time you have to lapse into description of this another new thing, you
keep things simple so that things acquire greater sort of energy as you
Tell-All‖ video)
writing serving to make his writing more accessible and attractive to broader
the literature as a tool for distinguishing the ―art-enabled‖ elite from the ―art-
challenged‖ rest. For this reason we may classify the formal aspects of his
47
desire to write novels that would bring the young ones back to reading and this
his writing – these are the novels published before the terrorist attacks in New
York and Washington that reportedly killed the transgressive fiction. As these
books were written before 9/11, they generally still bear the typical features of
characteristic features of these novels will be exemplified upon his first novel,
Fight Club (1996), which seems to bear the most of the typical features of this
period of the author‘s writing career. At the same time, this novel remains his
best-known work and has a defining influence on his popularity. For this
reason, this novel will be analyzed separately and the elements of the popular
fiction mentioned by John Fiske will be considered more thoroughly, since Fight
Club is usually the piece of writing that brings the readers to reading
success of its motion picture adaptation directed by David Fincher, which lead
to creating the aforementioned cult following and growing interest about the
original novel.39
39
e.g. The very first comment concerning the novel on website amazon.com: ―Like many, I had
heard of the book "Fight Club" after seeing the movie.‖ The movie represented the breakpoint
in Palahniuk‘s career, since it presented an otherwise unknown novel to the general audience.
48
The basic narrative of the novel depicts a nameless narrator suffering
from insomnia due to frequent business trips. Desperate in his struggle with the
illness, he finds his ease in attending support groups for terminally ill. Here he
just to fight each other and thus feel powerful and free for several minutes.
Fight club gradually turns into Project Mayhem, whose main purpose is to use
capitalist, consumerist society. When the project gets out of hand, the
nameless narrator realizes that Tyler is in fact just a product of his mind, living
while he thought he was sleeping, and tries to stop the project. Even though
club where one can ask the other attendees for a fight, which was Palahniuk‘s
collected various real stories he overheard on parties with friends and wrote a
framing story that would make them into a full novel. The stories usually
concern various pranks his friends played out of combination boredom and
success with the readers, since many of them confessed that they and their
40
He later used this story as chapter 6 of the novel: See Fight Club 215.
49
peers tend to behave in similar ways41 and were excited about having a chance
Since Palahniuk set the plot of the novel among the young blue-collar
workers dissatisfied with the lives they live and filled it with true stories, great
many of the readers found it easy to relate to the book, mainly with the angry
Fiske considered relevance of the cultural text to its consumer the crucial
the Fight Club fans published on the Internet seem to point at relevance of the
the story (both the novel and movie).43 This was pointed out also by the author
of one of the essays on Fight Club: ―Judging by the online reviews and posts at
cites like Amazon.com and The Cult, many fans emphasize how strongly they
relate‖ (Kavadlo12).
the chapter about his writing style) with a nameless narrator telling the story
41
Including David Fincher, who used to slice porno movies into family movies during his part-
time job as projectionist, and many other stories Palahniuk uses to entertain his audience at
public readings. Examples in: Non-Fiction 213, Fight Club 215, etc.
42
―popular culture has to be, above all else, relevant to the immediate social situation of the
people‖ (Understanding Popular Culture 25)
43
Examples of a typical online statement about relevance of Fight Club: ―Whether consciously,
or subconsciously, the average ‗Generation X' male of modern society can relate to and
understand Fight Club, which makes both the novel and motion picture such an important
proclamation regarding the state of our modern culture‖; ―I can relate to Fight Club 100%.‖
44
Due to its usage in one of the choruses based on medical magazines, where internal organs
talk about themselves in the form of first person narrative (―I am Joe‘s prostate‖(58)), where
50
stands for a common phrase ―regular Joe‖ or ―average Joe‖ used to refer to an
average citizen of the United States. The author portrays him as a dissatisfied
white young man, who spends most of his time working for a big company,
does not have enough excitement in his life, spends his money buying products
defining and unifying motives of his writing in general: ―If you haven‘t already
noticed, all my books are about a lonely person looking for some way to
the American dream, since this dream is built on the desire to become rich and
John Fiske refers to the American dream as to a bitter illusion, since great
and status of powerful individuality (115). Instead, most of them are spending
most of their time working towards this status, achieving mainly the loneliness,
enough - like the narrator in his Fight Club condo […] we destroy our lovely
nest and force ourselves back into the larger world‖ (Non-Fiction xvi).
This plot pattern provides the readers with the combination of numerous
social status within a community and going through unseen forms of adventure
during the process: besides this, Fight Club displays a leadership of the
the name Joe stands for a reference to average American. Palahniuk adapts this form and uses
it to express the narrators feelings, e.g. ―I am Joe's Enraged, Inflamed Sense of Rejection‖
(60), ―I am Joe‘s Blood-Boiling Rage‖ (96) etc.
51
formerly unsuccessful character in a constantly-growing secret society. Both
reader can relate, thus stimulating the productive pleasures, which, according
to Fiske ―center around social identity and social relations, and work socially
Culture 56).
role model and with whom the reader identifies through the narrator. Not only
among the fans, the character of Tyler Durden has achieved unprecedented
narrator‘s thoughts about ideal male: ―I love everything about Tyler Durden, his
courage and his smarts. His nerve. Tyler is funny and charming and forceful
and independent, and men look up to him and expect him to change their
world. Tyler is capable and free, and I‘m not‖ (Fight Club 174). As long as the
reader identifies himself with the narrator, they admire Tyler in a similar way,
and empowers him to take the action he was not able to take by himself.
wit, and sly subversion—are the same qualities that appeal to a readership of
In the same way Tyler transfers his capabilities and knowledge on the
45
As mentioned, thousands of teenagers online made the character their role model, stating
Tyler‘s quotes as their mottos. The popularity of the character lead for example to
transformation of the quote ―What would Jesus do?‖ into commonly used ―What would Tyler
Durden do?‖ and creating the religion of Durdenism, stating its basic concept as ―what god
created in six days, we will burn on the seventh.‖ Tyler Durden has become a cultural symbol.
52
narrator (―I know this because Tyler knows this‖ (Fight Club 12)), the narrator
transfers them on the reader using the second person narrative – for example,
the quote above is followed by another recipe for home-made explosive that
directly addresses the reader. Through the process of gaining this kind of
knowledge46 directly from a former dissatisfied Joe, who now has the power to
destroy the tallest building in the world and make it fall on a museum, thus
achieving the ruling power not only over present, but symbolically also over the
past (―‘This is our world, now, our world,‘ Tyler says, ‗and those ancient people
popular culture‖ (Understanding Popular Culture 66). In Fight Club the aspects
mainly through the evasive and rebellious actions of the communities created
The evasive actions in the novel are mostly defined by two main
the beginning of the story are more defined by humour, while the actions at the
end of the novel are directed towards radical violent changes in society.
The pranks played by Tyler and members of Fight Club bear many
46
―You take enough blasting gelatine [recipe provided few lines earlier] and wrap the
foundation columns of anything, you can topple any building in the world. […] This how-to stuff
isn‘t in any history book‖(Fight Club 13).
53
Fiske.47 Fiske defines the pranks consumers play as ―a desire for ‗sneaky thrills‘
that the boredom and discipline of everyday life denies them‖ (Understanding
Popular culture 39), where the stores themselves48 are just metonyms for the
decreases and, since the narrator is trying to stop the last phase of Project
attacks,49 can barely provide the reader with any evasive pleasure. The first
pranks, which are based on real stories of Palahniuk‘s friends, not only can
provide the evasive pleasure, since they mock the social classes that represent
elements Palahniuk uses are mostly rooted in the cynical tone of his writing.
The entertaining effect of the cynical approach has its origin in evasive
rhetorical resistance as well as places from which speakers and writers who
remain at the margins can launch critique‖ (26) - Palahniuk uses the cynical
47
John Fiske used the concept originally defined by Michel de Certeau in Practice of Everyday
Life.
48
Fiske discusses these raids mainly in connection with shopping malls.
49
Dictionary.com defines ―terrorist attack‖ as surprise attack involving the deliberate use of
violence against civilians in the hope of attaining political or religious aims‖
54
tone to directly mock the representative elements of the higher social classes,
pointing out the information that are usually considered impolite to express.
These comments tend to be connected with various physical acts of tricking the
―Fat,‖ the mechanic says, ―liposuctioned fat sucked out of the richest
Our goal is the big red bags of liposuctioned fat we‘ll haul back to Paper
Street and render and mix with lye and rosemary and sell back to the
very people who paid to have it sucked out. At twenty bucks a bar,
these are the only folks who can afford it. (Fight Club 150)
Palahniuk uses a similar tone also for describing and commenting various
elements of the plot that are not directly linked to critique of the system.
Creating a contrast between the dispassionate way of narration and the violent
example is part of the description of narrator‘s flat and refers to the thickness
of its walls:
the battery on her hearing aid go and has to watch her game shows at
full blast. Or when a volcanic blast of burning gas and debris that used
to be your living-room set and personal effects blows out your floor-to-
55
ceiling windows and sails down flaming to leave just your condo, only
The author projects the cynical combination of violence and humour also
in the actions of the characters. This is the case mainly with some of the
aforementioned pranks, where the members of the Project mayhem not only
but also want to enjoy the evasive pleasure of the violent act themselves as
calls for more and more violent acts and the project gradually changes from a
expectation of its members. The original members of the Fight club were
therefore they turn the violent acts into fun – e.g. they paint a big smiling face
on the front side of the building and let two of the offices explode so they form
eyes of the face (118) or drill holes into cash dispensers in order to fill them
Still, violence plays an important role in the novel. As is obvious from the
analysis thus far, rebellion against the system plays a pivotal role in the story
Violence in Fight Club can be divided into two categories with different
50
See Understanding Popular Culture 134.
56
functions: mechanical violence directed towards the dominant system and
Mayhem in the second part of the book is more linked to the evasive pleasures
produced by active resistance. During these attacks the system stands for a
direct target and Palahniuk thus very clearly expresses its metaphorical
novel the narrator turns against these acts and so disallows the reader to fully
which he and the reader were indentifying starts to resemble the dominant
For this reason, the violence represented in its physical form might
become even more attractive to the reader than the attacks, even despite the
fact that it does not have any obvious reason and was not directed towards the
system itself. Attractiveness of this form of violence lies in its form of execution,
not in the violent act itself – chapter 6, the original short story that formed a
basis for the novel, presents the act of fighting in a very similar way to Fiske‘s
presentation of wrestling.
modern forms of presentation, yet functional. Fiske notes about this form of
57
the language of the subordinate and the means of participation in subordinate
cultural forms‖ (97). Palahniuk very openly expresses the distinction between
The gyms you go to are crowded with guys trying to look like men, as if
being a man means looking the way a sculptor or an art director says.
[…] There‘s grunting and noise at fight club like at the gym, but fight
club isn‘t about looking good. There‘s hysterical shouting in tongues like
at church, and when you wake up Sunday afternoon you feel saved.
―breakdown of culture into nature‖51 which Fiske quotes from Barthes‘s concept
of jouissance and adapts it for evasive pleasures of the body. Members of the
club engage in the activity in order to achieve the feeling of being alive and not
bonded by society – ―You aren‘t alive anywhere like you‘re alive at fight club‖
(Fight Club 51). This feeling is achieved through the combination of turning
part of the undisciplined part of society that rules in dirty basements and
parking lots, out of reach of the ruling power. ―The working-class body,
shouting its billingsgate or fighting in the aisles, erupting out of its category as
51
See Understanding Popular Culture 50.
58
dirt, disorder and evasive behaviour provide the fighters with feeling of going
one‘s own way and thus finally living one‘s own life without being disciplined, if
only for one evening a week. While Fiske states that this body of labour is
always ready to erupt from its socioeconomic category, Palahniuk shows the
beginning of this eruption, since the fighting and liberating pain associated with
it were obviously the first step towards the broad public indiscipline of the
young men who achieved the feeling of empowerment and freedom. The
author uses the fights primarily for this purpose, as he claims that fight club
really was not about loosing or winning fights (see Fight Club 51) and that
―Nothing was solved when the fight was over, but nothing really mattered‖
(53).
empowering tool,53 which not only became the reason for taking care of one‘s
body, but also transformed the fear of the attendees into determination – ―Most
guys are at fight club because of something they‘re too scared to fight. After
few nights, you‘re afraid a lot less‖ (54), ―I felt finally I could get my hands on
everything in the world that didn‘t work‖ (53). These are the feelings that
mostly angry white young men that are able to identify with the narrator, a
regular Joe, find desirable. In the documentary Postcards From the Future
Palahniuk comments on the success of the first novel among these dissatisfied
youngsters: ―It resonated with a group of people who never read and so it's
their only book. It's like their bible, they carry it with them all the time.‖
52
Narrator: ―I just don‘t want to die without a few scars‖ (Fight Club 48).
53
Fiske calls the pain ―a bodily sensation out of control of the law, medicine and morality‖, see
Understanding Popular Culture 95.
59
As was demonstrated in this chapter, the novel Fight Club very openly
provides its readers with many of the evasive pleasures that John Fiske
described in his study as attractive. Combining the aspects with the writing
style that was analysed in the previous chapter, Palahniuk offers these feelings
to even broader body of readers, mainly the ones that find it easy to identify
pleasures were related to various forms of resistance against the system, the
―center around social identity and social relations, and work socially through
expressed forms of productive processes related to the novel and its readers.
and their groupings: the ways the readers transfer the narrative of the novel
60
provides three-page-long list54 of the ways in which various features of the
novel were put into use in both public and commercial spheres. He mentions
people setting up secret fight clubs in numerous places around the world,55
people taking the legal action to change their names to Tyler Durden, people
scarring kisses into their hands with lye similar way as it is described in the
novel or putting quotes from the novel on their garments. Fiske refers to these
Fans are productive: Their fandom spurs them into producing their own
texts. Such texts may be the walls of teenagers‘ bedrooms, the way
directly reflect the communities described in the novel. Having these effects on
the readers, the influence of book thus reaches out into a real world, where it
serves as means of expression, but it is also gaining more popularity since fans
54
See Fight Club 210.
55
On the other hand Palahniuk opposes to the idea that the novel would be a reason for public
disobedience demonstrated by the acts depicted in the novel, since most of the pranks he
included in the novel are based on real stories and were obviously practiced by people long
time before the novel was published. ―We were just blue-collar nobodies living in Oregon with
public school education. There was nothing we could imagine that a million people weren‘t
already doing‖ (Fight Club 215).
61
promotion gives way to creation of a similar fan-base bearing the
random internet webpage: ―Busting out with "Fight Club" quotes anytime,
commercial and financial success the means of capitalist society turned the
similar development in his studies of jeans and practice of their tearing by their
turned to the advantage of that which they oppose and fashionably worn-torn
promoting their products.58 Not only were quotes from the novel included on
for their new fashion collections, but also popular auction website ebay.com
offers 2727 products found after searching for string ―fight club shirt‖59 – the
56
A quote from online analysis of Palahniuk‘s Rant: ―I‘m sorry, but if you haven‘t seen ―Fight
Club,‖ you have light years to catch up with us cool people.‖
<http://moonwalkerwiz.wordpress.com/2010/02/01/a-long-long-rant-about-palahniuks-rant/>
57
Quote from webpage Made Man which calls itself ―a top online destination for men, dedicated
to giving guys unbeatable information to live better, smarter, happier lives.‖
<http://www.mademan.com>
58
See Fight Club 210.
62
novel was turned into a commercially successful brand.
pleasure is already mentioned practice of bricolage that John Fiske adapts from
Claude Lévi-Strauss. Here, the fans of the popular text use the aspects of the
text to create art forms of their own. Motives from Fight Club are not only one
created several websites devoted to various forms of graphic and digital user-
made art using Fight Club as its topic,60 including the biggest of them, the
one of the main purposes of his stories is to make people tell their stories.61 In
first conference focused on his writing that was organized by fans in 2003, that
he came to realize that it was more ―an excuse for the people to present, to
create and to express themselves, a forum for people to explain their point of
view. It is much less a Chuck love fest then it is really just sort of using my
workshop on his official website. Starting with several published essays on the
59
Experiment on 3 November 2011: string ―fight club shirt‖ put into search feature of the
website <http://global.ebay.com>
60
e.g. < http://fuckyeahfightclub.tumblr.com/>,
<http://www.angelfire.com/rebellion/pssc/gallery/home.html>, etc.
61
See ―Chuck Palahniuk‘s speech at Grub Street writer conference.‖
62
See Postcards From the Future.
63
literary techniques he uses, he gradually expanded it into its present form,
when he not only regularly provides tips for writing and homework for the
members, but nowadays also collects the best works of its members with
chapter devoted to the productive pleasures, where he explains them using the
the television series Star Trek. Fiske includes examples of either fans recreating
the popular texts in different forms (similar to the fictional book covers
published in the gallery on Palahniuk‘s official website) or using the original text
culture at work‖ (Understanding Popular Culture 148). He states that these acts
of the reproduced work), pleasure of reproduction (putting the original text into
new context) and pleasure of production of the new text. As long as the
the productive acts described further above, they tend to become more
important for the readers as the act of reading itself, which, in this sense,
agrees with the crucial argument of John Fiske: ―Popular culture is made by the
people‖ (Understanding Popular Culture 24) and its creativity lies in the
productive use of the texts themselves. As long as Chuck Palahniuk and the
64
community around him continue to support this behavior of his readers, the
This section will focus on the novels from the middle period of
difficult to set an exact dividing line between the second and the third
period of his writing, as the nature of his novels was changing from book
to book (unlike the first four novels, which are very similar to each other
in their nature), this subchapter will briefly discuss two novels: one from
A short analysis of the novels Lullaby and Rant will focus mostly on
the characteristics that allow comparison with the novels from the first
period, particularly Fight Club: structure of the novel and language used,
full-time writer63 and first novel published after the terrorist attacks in
63
See ―A.V. Club Interview.‖
65
2001, though it was finished before them and supposedly delivered to his
publisher in New York on the very day the attacks occurred. The author
never mentioned any changes being made to the book after the attacks
Having accidentally killed his own wife and child by reading this song, he
sets off for a road trip with intention to find and destroy all copies of the
book in which it was published. For this trip he is joined by several other
people who have their own intentions with the song and other spells from
Lullaby still shares several characteristics with the first four novels,
the story from the temporal end in order to foreshadow the development
of the narrative. The writing style is still strictly prototactic and verb-
based. The narrator frequently refers to his journalistic practice and often
66
use. For example, at the beginning of the chapter 2, Carl mentions being
told off by his editor, since he did not provide enough details. He thus
The details about Henderson are he's got blond hair combed across his
desk. He always knows the snow conditions and has a lift pass dangling
39)
mentioned in the chapter about his writing style – he offers a short detail that
helps the reader to create their own idea about the character and the phrase
―The details about [character] are‖ becomes one of the ―horses‖ utilized
throughout the novel. Using the journalistic tone of writing very openly and
with reality of the reader. Moreover, he again commonly addresses the reader
in the second person and thus enables them to identify with the character of
novel.
case of Lullaby they are no longer directly shouted out loud by a rebellious
character, as Tyler Durden did. Instead, Palahniuk uses more subtle form of
literature. For example, one of the problems that the novel commonly mentions
67
is general lack of silence, as the characters are constantly surrounded by loud
Big Brother isn‘t watching. He‘s singing and dancing. He‘s pulling rabbits
out of hat. Big Brother‘s busy holding your attention every moment
you‘re awake. He‘s making sure you‘re always distracted. He‘s making
sure you‘re fully absorbed. He‘s making sure your imagination withers.
Until it‘s as useful as your appendix. He‘s making sure your attention is
The author not only mellows the critique of the system, he even includes
―Clothing is dishonesty in its purest form‖ (Lullaby 96) or ―[bean salad] with
Worcestershire sauce in the dressing […] that means anchovies. That means
meat. That means cruelty and death‖ (Lullaby 52). Clearly mocking the self-
invited radical saviours and rebels, Palahniuk obviously took a step away from
the explicit evasive pleasures offered in the first novel. Also the amount of
comparison with the first novels (e.g. Fight Club – two characters killed,
including Tyler), but all of them are caused by the culling song as part of the
68
author‘s contemplating about potential deadly effect of words,64 not as a
one‘s way to reconnect with the world, he comments on a slight change in this
aspect:
My first four books, from Fight Club to Choke dealt with personal
less responsible for his situation. In the classic horror model, the
it was represented in his early novels, where the dissatisfying situation of the
main character was usually determined by their own behavior or their social
status. As long as Carl was put into his position outside the society by a family
tragedy occurring later in his life, he sets off for the adventurous trip because
there is nothing he can lose and he wants to prevent the song from causing
pleasures.
64
As mentioned before, Palahniuk worked on the novel at the time of trial with murderer of his
father, Dale Shackleford, when he was asked to help in process of deciding whether
Shackleford should be sentenced to capital punishment. His words thus had a potential to kill a
human being and the author used the writing process as a means of dealing with this dilemma.
69
By embracing the approach typical for horror genre, Palahniuk opens his
writing for new possibilities in the future, as his characters no longer have to
struggle against whole dissatisfying world. The author can therefore focus on
different problems than rebelling against one‘s surroundings and portray more
Rant (2007) is Palahniuk‘s eighth novel and it might be seen as the last
novel from the middle period of his writing, since it is the last of his books
extensively experiments with the form of narration, what became typical for his
later works.
The basic narrative of the novel follows the life of a fictional character
Buster ―Rant‖ Casey from his early childhood in a rural town of Middleton
his unclear death during an event of urban destruction derby, Party Crashing.
The narrative includes motives of time travel and science fiction and, as the
reader realizes only later in novel, takes place in a near dystopian future.
chronologically ordered chapters. This form enabled him not only to keep to the
his typical oral-based writing style, as the whole book is constructed of spoken
70
documentary movies, but also, as he called it, ―minimalistically‖ strip out
everything to include only the story with no establishing shots and cut from one
things‖ and invent their own meaning65 and thus become more involved with
characters and information, but also facts and trivia from history, science and
law66 and quotes from real-life scientists (e.g. Victor Turner), the author firmly
anchors the story into reality of the reader well before they have a chance to
realize it does not occur in their reality. This situation enables Palahniuk to
move the narrative between respective realities and timelines without making it
alienating to the reader. Even though Rant is thus fur the only Palahniuk‘s novel
Fiske, who claimed that ―too radical a change would break the relevance‘s
65
See ―Agony Column Interview 2007.‖
66
e.g. ―Under the Foreign Quarantine Regulations (42 CFR 71.54), it is illegal to sell bats as
pets within the United States‖ (Rant 78), ―Beyond the incubation period, also known as the
‗eclipse‘ period, of six to ninety days, the virus replicates in localized tissue adjacent to the
infection site. Retrograde axoplasmic flow moves the virus rapidly throughout the central
nervous system. [etc.]‖ (Rant 80), ―After the 1960s, the common racoon (Procyon lotor) became
the species most likely to be infected‖ (Rant 82).
71
Culture 133).
In Rant Palahniuk keeps to the topic of reinventing one‘s way among the
people, as a poor boy from a ―hillbilly burg‖ (Rant 10) becomes a leader of an
the transgressive fiction, as the characters are trying to achieve the feeling of
unlike many of the acts in the first novels. As long as the dysfunctional society
in which the plot is set divided all the citizens into day-timers and night-timers,
nights, when the Party Crashing events are held, are the official time of the
lower class citizens which are only limited by not being allowed to get out
during the day. They therefore do not feel such a strong urge to rebel against
establishment and they crash their cars primarily in order to achieve the
Anytime Rant had an orgasm, or the moment after we‘d been rammed
by another team, right when he blinked his eyes and seemed to realize
he wasn‘t dead, he‘d smile and say the same thing. At that moment,
Rant would always smile, all dopey, and say, ‗This is what church should
67
Even though these practices obviously involve certain degree of evasive pleasure and might
be seen as a form of attack on the system.
72
to liminoid experiences defined by Victor Turner,68 since they are supposed to
be short-lived events where people step out of their ordinary lives to participate
and lose their ordinary status in order to come together as equal participants.
They thus find a new way of being with each other and in a way find a new,
indirect and subtle manner. In this novel Palahniuk focuses on the socially
illustrates these practices on the way children are brought up in a rural town,
where, as Rant claims, they are constantly lied to. He mentions examples of
Santa Claus, Easter Bunny and Tooth Fairy, where ―Each of these three
[…] From toys to candy to money. […] Or plainly put, beginning with all the
currency‖ (Rant 62). Longing for something real, Rant invents ways to break
these traditions, ridicule the authorities and expose them as corrupt. Therefore
he himself takes up a role of Tooth fairy and exchanges the teeth his
schoolmates give him for valuable old coins in order to overturn the social
situation: ―All the children rich. All the adults smiling and wheedling and playing
nice to get money‖ (Rant 53). Similarly, he makes children touch real intestines
in the haunted house, claiming that he thought it is always done that way and
68
Turner defined liminoid as a ―successor of the liminal in complex large-scale societies, where
individuality and optation in art have in theory supplanted collective and obligatory ritual
performances‖ (qtd. in La Shure, Charles. ―About: What is liminality?‖ Liminality. n.p. 18 Oct
2005. Web. 5 Nov. 2011.)
69
See ―Agony Column Interview 2007.‖
73
that he ―didn‘t know pillars of the community as trusted and honoured and
respected as Scout den leaders, grown-ups, would lie to little kids‖ (Rant 60).
Using the small rural town as a metaphor for a contemporary society he points
out the reason for the people‘s desire leading to the evasive actions, like Party
people‘s clinging to them also in this novel, but either does not depict them in
such an obvious and explicit manner or if they take a rebellious form, their
primary intention is not directed against the ruling power. He also approaches
violence in this moderate manner – though plot of Rant includes the second
Lullaby), most of them are caused by various animals (dogs, bees, black widow
spiders, etc.), handled by Rant, on older members of his family. The violent
actions, which Fiske described as a metaphor for attack on the system, thus,
again, take form of struggles between the generations of a rural town, not an
explicit form of violent attacks against public targets as it used to be in first four
the natural state as opposed to civilized life. What makes the character of Rant
different from all the other inhabitants of Middleton is, besides his desire for
something real, his connection with nature – not only his smell and taste were
70
―He was trying to find something real in the world. Kids grow up connected to nothing these
days, plugged in and living lives boosted to them from other people. Hand-me-down
adventures. I think Rant wanted everybody to experience just one real adventure‖ (Rant 60).
74
extremely developed, but he became addicted to the poisons transferred to him
―fishing‖ for: ―One bite of venom, one little squirt of poison at a time, Rant was
training for something big. Getting vaccinated against fear. No matter the
improvement over a coyote chomping on your foot‖ (Rant 72). Young rebellious
Rant thus represents the power of nature openly challenging the habits and
traditions of civilized society. Though he dies at the end of the novel, his body
is never found and the real conditions of this situation remain unclear. Intensive
discussion on the topic of time travel by the end of the novel implies that in the
end he, unlike in Fight Club, might be successful not only in his struggle against
change in his writing. He started to move from simply put and accessible forms
broader, less controversial topics. This approach signalizes the trend towards
which his further writings will evolve. Even though he starts to use different
approach, the author seems to keep to the original critical attitude, which he
71
Which, again, is something Tyler Duren promises to the narrator in the very beginning of
Fight Club: ―We really won‘t die. […] This isn‘t death really. We‘ll be legend. We won‘t grow
old‖ (Fight Club 11).
75
4.2 Third period – Tell-All (2010)
further experiments with narration and gradual abandoning of the practices and
style became more important than the plot itself, since both of them present
otherwise banal story in a very specific, less accessible manner that lead to
The basic narrative of Tell-All is set in the Golden Age of Hollywood and
depicts a struggle of fading movie star Katherine Kenton to save her career and
later also her life as a her potential another husband is trying to kill her in order
nature of the story and its form. When presenting the novel he discussed
72
Pygmy is an epistolary novel written in a form of letters of an exchange student from
unnamed totalitarian state, who arrives to the United States with intention to execute a terrorist
attack and, while waiting for the command, he describes the life of ordinary American family.
Throughout the book, Palahniuk uses Pygmy‘s own invented form of broken English, which
makes the novel rather difficult to read. E.g. ―Commencing ritual meal, pig dog brother load
meat to own mouth, masticating roasted muscle fiber‖ (Pygmy 166).
73
A question at recent Q&A at Palahniuk‘s last promotion tour might serve as an example: ―The
two books in between. What happened? Why don‘t I get them? There‘s something in there as if
you went off on attention and I don‘t get it. What do people like about it?‖ (―Cooper Union
2011‖).
76
I like to have a story about something that is at odds with the content
of the story. [talks about nature of romance novels and how they use
wanted to write Tell-All using this over the top, quote end quote
beautiful language to talk about really base things. In this case it‘s a
love story about hatred. The core of the book is the hatred of one
In Tell-All thus Palahniuk abandons his usual dynamic verb-based writing style
and adopts the euphemistic language used in harlequin literature, using long
shelter I pewed my steaming tribute, gush upon jetting gush, the pearlescent
unutterably beautiful visage‖ (Tell-All 115)), but also for descriptions of other
scenes in order to create a humorous paradox between the content and the
Before another note from the orchestra, Miss Kathie leaps to slam an
artillery round into the massive deck gun. Wheeling the enormous
barrel, she tracks a diving Aichi bomber, aligning the crosshairs of her
gun sight. Her sailor whites artfully stained and shredded by Adrian
77
Adolph Greenberg, her bleeding wounds suggested by sparkling patches
Singing the opening bars of her big song, Miss Kathie fires the shell,
All 108)
As can be seen from the examples above, parody and exaggeration are
the novel, since it no longer offers any evasive pleasures and violence is
longer a regular Joe, as it used to be with most of the novels before, but a
wealthy movie star living among other celebrities, thus a person and an
environment with which Palahniuk‘s readers barely can identify, because the
author does not try to find similarities between the celebrities and ―normal‖
scripts depicting exaggerated views of real events, e.g.: the female movie stars
while wearing expensive jewelry and Channel No. 5 perfume, before sneaking
into Hitler‘s bunker and strangling him; famous fashion designers gather in
order to design the atom bomb to be used on Hiroshima and decorate it with
At the same time Palahniuk, careful not to completely alienate the reader
78
completely, again presents the story in a form of non-fiction writing in order to
commented on this approach during one of the public readings on Tell-All tour:
Because that will allow me to tell even more fantastic fictional story
actually play against the nature of the story. (―Chuck Palahniuk: Tell-
All‖)
Palahniuk thus offers this story using the form in which the readers in
highs and lows of celebrities‘ existence. Palahniuk even copies some of the
invented phrases coined by their authors, invents similar ones in the same
manner and uses them side by side (e.g.: ―What Hedda Hopper calls a ‗funeral
crasher‘‖ (Tell-All 28)). The author claimed that using this practice he intended
to return the language the ―slangy, plastic quality that only exists to a lesser
degree today‖74 in comparison with reinventing the language that used to occur
74
See ―Chuck Palahniuk: Tell-All‖ – Palahniuk mentions the term ―Brangelina‖ used for Brad Pitt
and Angelina Jolie today as one of the rare occasions of this usage of language today
79
invented ironic terms (like ―was-band‖ for ex-husband or ―baritone babe‖ for a
syndrome‖) and boldfacing the proper nouns in the same manner as the names
of the celebrities are boldfaced in the columns. The names of the celebrities,
historical figures and trademarks then stand out in the text in order to attract
the sight of the reader. Besides other functions (to be discussed further in the
text) these names, that are part of the reader‘s reality, strengthen the
connection between the book and the actual world in a similar manner they
the author uses more of these connecting points with reality than in any other
of his novels. The proper nouns and their usage become one of the ―horses‖
year is a phrase ―the year when every other song on the radio was [Patti Page
singing ‗(How Much Is) That Doggy in the Window?‘ etc.]‖ (Tell-All 17) that the
information concerning the particular year he, again, achieves more realistic
reference than by plainly stating that the situation occurred in year 1953 (in
this case).
reader in the story is metafictional involvement of the reader, for which he uses
a form of movie script in this novel. Tell-All, instead of being divided into
80
chapters, consists of three acts divided into separate scenes. Each of the
scenes describes the location and situation in the beginning: ―Act one, scene
four opens with Katherine Kenton cardling an urn in her arms. The setting:
dimly lit interior of the Kenton crypt, [etc.]‖ (Tell-All 23). Moreover, the author
regularly directly addresses the reader: ―Here, let‘s make a slow dissolve to
flashback‖ (Tell-All 17); ―If you‘ll permit me to break the fourth wall, my name
is Hazie Coogan. [and Hazie continues talking to the reader throughout the
chapter]‖ (Tell-All 7). Since movie scripts play an important role in the novel
and Palahniuk often includes scripts of the various movies in which Miss Kathie
is supposed to play, the script form transforms the novel itself into one of the
exaggerated scenarios that the reader reads in the same manner as Kathie
reads her scripts. The story, however over the top it is, thus achieves a non-
fiction form that Palahniuk mentions in the quote above, as the movies Kathie
reads about are based on the true events. In the scripts these events are
exaggerated, which is the same thing the author does with his ―real‖ story.
Unlike most of Palahniuk‘s earlier novels, Tell-All does not contain any
form of direct social critique. Instead, he uses the boldfaced proper nouns in
themselves, and they're, in a way, farming that task out. If they want to
express themselves they buy a song or they buy a greeting card that's
81
already processed by someone who's kept that skill. We can't express
large extent movies take that on, they're our therapy and our
Throughout the novel he therefore uses the names as very functional means for
illustrating the statuses of the actors. The first party of Lillian Hellman is
this table: Prince Nicholas of Romania, Pablo Picasso, Cordell Hull and Josef von
Gene Autry to Marjorie Main to the faraway horizon‖ (Tell-All 2). Fashion brands
worn by the characters become the expression of their wealth,76 the famous
names from the history become archetypes of people,77 movies and historical
drivel possibly constitutes […] the outcome of an orphaned press agent raised
75
See ―Chuck Palahniuk: Tell-All‖ video.
76
E.g. ―The heady aroma of her Chanel no. 5‖ (Tell-All 1).
77
E.g. ―This woman is Pocahontas . She is Athena and Hera . Lying in this messy, unmade bed,
eyes closed, this is Juliet Capulet. Blanche DuBois. Scarlett O‘Hara‖ (Tell-All 48).
78
E.g. ―Beyond her first words, Lilian‘s talk becomes one of the jungle tracks one hears in the
background of every Tarzan film, just tropical birds and Johnny Weissmuller and howler
monkeys repeating‖ (Tell-All 3).
82
by wolves and taught to read aloud from Walter Winchell‘s column. Her
All 3). The mixture of random animal sounds combined with a random celebrity
name becomes one of the Palahniuk‘s ―horses‖ used throughout the novel. On
numerous occasions Palahniuk claimed that he decided to set the novel in the
names without being sued by the people – he therefore uses only the names of
The radical change in the writing style, topics discussed, setting and
other elements that used to be typical for Palahniuk‘s early novels led to
creation of a novel that is almost incomparable to his writing in the first period.
of the fans of his earlier works have hard time accepting this change of style.
With this novel he probably targets a completely different audience, since the
young people that found it easy to relate to the characters in Fight Club or
found the next novels dynamic and entertaining, are probably not familiar with
great majority of the people the author refers to in this novel and prefer
reading the simpler, more dynamic forms of writing. These changes and their
5. Conclusion
when starting writing was to attract young people back to reading. In one of
83
Spanbauer) makes a book attractive to a reader:
You have got to make people laugh, that‘s most important. You have
Involve them on gut level. Disease does that, illness does that, violence
does that, sex does that. […] I think young people, primarily, love it.
Because they expect a lot more from a book. Books really have so much
competition from music, movies and video games and they really want a
book that will hit them the way the movie or concert hit them.
his writing career, as the first four novels contain most of the elements
mentioned above. The effort to involve the reader in the book as much as
possible lead to increased relevance of the first novel, that the readers usually
point out and which John Fiske defined as one of the crucial conditions for
evasive pleasures that, according to Fiske, are the primary motivation for
write a novel that bears most of the determining aspects needed for popular
84
analysis of hidden meanings of Fight Club have been written,79 Palahniuk still
claims that all he wanted to do was write a story: ―Before the University of
everything from Freud to Soft Sculpture to Interpretive Dance […] there was
just a short story. It was just an experiment to kill a slow afternoon at work‖
claims, the first novel (and its movie adaptation) was successful mainly with the
young people and usually with the people who do not generally read books.
The novel primarily targeted the younger audience, as the author claims that
they long for their big experience. This was openly articulated by Tyler Durden,
who claims that ―we are God‘s middle children […] with no special place in
history‖ (Fight Club 141) and that ―We don‘t have a great war in our
(Fight Club 149). Palahniuk thus provides this experience through the form of
relating the reader to the experiences of the characters who win their personal
struggles, which attracted mainly the young and dissatisfied readers. Journal
following manner:
79
E.g. Fall/Winter 2005 issue of online magazine Stirrings Still: The International Journal of
Existential Literature contains more than 150 pages of analysis of mostly Fight Club from
existential point of view, demonstrating its work with numerous ideological concepts and
theories.
80
On the other hand, several years later he claimed that he accepts the idea of the death of
the author, as presented by Roland Barthes and therefore there is not a wrong way to read his
books. The readers create their interpretation based on their own body of knowledge and
experience. See ―A.V. Club interview‖.
85
His fans -- many of whom are young men, unemployed, or making do
their nails and cut-off Dickies and red laces through their Chuck Taylors
See, they didn't really read before. Maybe some Marvel comics or
fantasy novels, maybe some Bret Easton Ellis. But they saw this movie
''Fight Club'' and something took hold and suddenly they're buying
(Entertainment Weekly)
The approach to writing used in the first four novels attracted wide
audience including also the kind of fans described above, which is devoted
enough to articulate their appreciation for their (in many cases only) favorite
writer in ways81 that might be defined as cult following. Novels from Palahniuk‘s
early writing period are generally still the most appreciated ones even after his
young man into my forties. This way I get sort of transitioned into my
40's and 50's came out of oppressive times. It was fantasy and science
81
Described in the introduction.
86
fiction and it wasn't taken like form someone on a soapbox. It's my goal
Even though the terrorist attacks became the articulated breakpoint, the
real reason for the change in approach was probably his transformation into a
full-time writer, which allowed him more time for research during writing. At
that time Palahniuk started to refer to scholarly theories and consciously import
understanding parts of the world I took for granted before. I love that.
You just think things are a certain way, and then you find out the nature
of why they're that way. I'm in love with that moment of insight.
before and starts to experiment with forms of narrative and situations depicted.
Though the body of readers that was described in quote from Entertainment
Weekly above can barely appreciate the inclusion of these ideas, the change in
Palahniuk‘s situation started to influence the form and content of his writing in
the ways that were discussed in chapters above – his social critique became
87
less openly expressed and the author tends to incorporate it into the story itself
instead of its open articulation by rebellious characters and their behavior. The
first novels after this change in approach still contained many of the aspects
character struggling to find their way back to the world (most of the novels),
decreased. While Pygmy, even despite radical change in writing style, still might
American society, Tell-All, as can be obvious from the analysis above, barely
shares any characteristics with Palahniuk‘s early novels. Though he does not
avoid displaying of sex and violence, their occurrence is so heavily coded that
the ―original‖ fans82 are barely able to enjoy it and thus seem to be rather
dissatisfied with it.83 At the same time, the last novels do not seem to be
successful with other readers either, and are usually rated as average.
that he is plainly trying to keep pace with the ―fight club generation‖ which is
growing up and provide his fans with what he expects them to like, others
82
Term ―original‖ is used here to refer to the fans praising Palahniuk‘s early fiction.
83
E.g. First comment on Tell-All page at amazon.com states: ―Discovering someone has gone
missing is nothing short of tragic. There's just no other possible explanation. Tell-All cannot be
written by the same Chuck Palahniuk who wrote the brilliant novels Fight Club, Choke, and
Survivor. Alien abduction, demonic possession, mind control, something. Anything. I refuse to
accept depreciation of creativity and talent as a viable option.‖
88
Palahniuk himself claims that purely does what he feels like and responds to
situations in his personal life.84 The fact is that his writing has gone through a
significant change since beginning of his writing career. Though majority of his
fans still seem to prefer his early writings and are (usually quietly) dissatisfied
with his new books, the cult that was built around his persona is strong enough
to constantly attract new readers of his old books, which preserve this cult
alive. Chuck Palahniuk himself still seems very enthusiastic about opportunities
that books are a unique, powerful medium and there still are many places ―that
only books can go‖ (Haunted 412), so it is important to attract people back to
reading.
Works cited
Primary sources:
84
Palahniuk, speaking publicly as often as he does, always explains particular influences leading
to writing any of his books.
89
---. Tell-All. London: Jonathan Cape, 2010. Print.
Baker, Carlos. Hemingway: The Writer as Artist. Princeton, NJ: Princeton UP,
1972. Web.
Print.
Socialist Theory. Ed. Raphael Samuel. London: Routlege & Kegan Paul,
1996. Print.
90
McGuigan, Jim. Cultural Populism. London: Routledge, 1992. Print.
Postcards from the Future: The Chuck Palahniuk Documentary. Dir. Joshua
DVD.
Wolfe, Tom. ―Seizing the Power.‖ The New Journalism. Eds. Tom Wolfe and
91
―Chuck Palahniuk: Tell-All‖. 30 June 2010. Online video clip. Youtube. 25
March 2011.
―Lullaby.‖ The Washington Post. The Washington Post, 2 Oct. 2002. Web. 13
Oct. 2011.
92
---. ―Chuck Palahniuk: Stranger than Fiction.‖ Interview by Andrea Seabrook.
4 Oct. 2011.
Oct. 2011.
---. Interview by Tasha Robinson. A.V. Club. A.V. Club. 13 Nov. 2002. Web. 9
Nov. 2011.
---. ―Chuck Palahniuk: Tell-All‖. 30 June 2010. Online video clip. Youtube. 25
March 2011.
Today, Vol. 1 No. 4, Narratology II: The Fictional Text and the Reader
93
Scott-James, Rolfe-Arnold. ―Popularity in Literature.‖ The North American
Review, Vol. 197, No. 690 (May, 1913): 677-691. JSTOR. Web. 29 Oct.
2011.
Resumé (Slovak)
najmä úspechu filmovej adaptácie jeho prvého románu Fight Club (1996), ktorý
priviedol divákov k čítaniu ďalších jeho kníh. Preto je táto kniha, zaradzovaná
94
populárnej kultúry, ktoré popísal John Fiske vo diele Understanding Popular
Culture (1989). Táto analýza dokazuje, že Fight Club obsahuje mnohé z prvkov,
tvorba prešla v neskorších fázach jeho autorskej činnosti, kedy sa obsah i forma
jeho kníh začali výrazne meniť. Porovnanie s jeho prvým románom ukazuje, že
týchto tém, ako i iným témam a časom i výrazným experimentom s formou ich
rannej tvorby, čo viedlo k istej nespokojnosti fanúšikov jeho starších diel, ako i
Resumé (English)
This thesis deals with aspects of popular culture contained in the novels by
mainly for a wide fan-base of devoted readers and his success with the
individuals, who usually do not read books. The author became popular among
readers mainly due to success of the motion picture adaptation of his first novel
Fight Club (1996), which brought people also to his other novels. This novel, a
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work of transgressive fiction, is therefore analyzed using the aspects of popular
culture. The thesis includes a brief analysis of Palahniuk‘s writing style which
makes his novels more accessible to broader body of readers. Second part of
the thesis focuses on changes that occured in the later phases of his writing
career, when both the content and form of his books started to change
considerably. Comparison of his later works with the first novel shows that
topics in more subtile manner, starts to discuss also different topics and
carrer: Lullaby (2002), Rant (2007) and Tell-All (2010). The last novel
mentioned obviously significantly differs from the author‘s early writing, which
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