45 pages • 1 hour read
Chuck PalahniukA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
When the Narrator arrives at work in the morning, he sees that his office high-rise is the site of another Project Mayhem spree. The windows are blown out, the interior is on fire, and he watches his own desk fall to the pavement below. The Previously, he thought his boss was just on vacation, but now he recalls smelling gasoline on his hands and wishing he could leave his job, and the Narrator fears Tyler took that as permission to kill his boss. Narrator knows his boss is dead. When he fell asleep at his desk, Tyler took control and rigged his computer with gasoline so it would explode.
When the Narrator realizes he is the obvious suspect for the explosion, he does not get off the bus. He keeps riding, and suddenly he notices the bus is full of Project Mayhem members. One has a rag, and the Narrator can smell the ether. He sees the mechanic from before holding a knife, and the men attack him before he has time to react. They intend to cut off his testicles, just like Tyler threatened to do to the Seattle police commissioner. The police arrive, but they are also Project members. Realizing that no one can help him, the Narrator tries to escape out the bus window. The men try to pull him back in by his pants, but he shimmies out of them and falls onto the street outside in his underwear. Men outside are suddenly on him, spreading his legs. He feels the pressure of a rubber band around his testicles and the reduced blood flow to his groin. Another man presses the ether-soaked rag to his mouth, and he is rendered unconscious.
The Narrator wakes up in the shell of his old apartment. He reaches a hand between his legs and is relieved to find himself unharmed. He rides the elevator down, and his old doorman calls him Mr. Durden and treats him with respect for the first time since he met him. The Narrator calls Marla and asks her to meet him at the support group where they first met. He declines a free cab from a Project member, believing that if he walks then they will have a harder time getting their hands on him again. At the meeting, Marla slaps him across the face when the group partners off for therapeutic physical contact. She berates him, much to everyone’s shock, and accuses him of killing a man. At first, he believes she means his boss, but Marla reveals she followed him to a murder mystery dinner party and saw him shoot a man. The Narrator panics, because he knows Tyler will kill anyone who is a threat to Project Mayhem, and now that Marla is a murder witness, she is a definite threat. The Narrator urges her to get somewhere safe, and he confesses that he likes her. He leaves, determined to deal with Tyler.
As the Narrator leaves the group meeting, his mind is flooded with everything Tyler knows and ever did. He knows how to run a film projector, how to break locks, how to make explosives, and that Tyler rented the Paper Street house just before they met on the beach, as if he knew they would need it once he revealed himself. The Narrator finds a Fight Club that night and registers to fight all fifty men on the roster. During the first fight, he remembers killing Patrick Madden at the murder mystery party. Patrick was compiling a list of every Fight Club location, and therefore he was a threat. The Narrator remembers watching Patrick’s wife laugh as if his sudden death as all part of the party’s game, not knowing he was dead. In his second fight, the Narrator’s opponent breaks his collarbone. During the third fight, he is put in a sleeper hold until an old wound reopens. The Narrator remembers Patrick’s wife realizing her husband is dead, how the blood pooled around his body and soaked the hem of her skirt. The Narrator collapses to the floor, bloodied and broken, but he does not quit the fight. He wants to die.
The Narrator regains consciousness in his room in the Paper Street house. All his belongings have been removed. Tyler stands over his bed. He tells the Narrator that it is time at last for martyrdom, for the Narrator’s “big death thing” (203). Tyler plans to take the Narrator to the tallest building in the city, which is overtaken by Project Mayhem members, and blow it up, bring it all crashing down, with the Narrator dying inside in the process. Tyler threatens to hurt Marla if the Narrator does not cooperate. The narrative returns to the scene from Chapter 1, with Tyler and the Narrator on top of the Parker-Morris Building. Tyler has a gun in the Narrator’s mouth—only it is the Narrator holding a gun in his own mouth. Tyler assures him they will not really die. As the clock runs down, Marla arrives, accompanied by people from the support groups the Narrator attended. As soon as Marla arrives, Tyler disappears. The Narrator can hear the police helicopters closing in, and he urges Marla and the others to leave before the building explodes. Marla tells the Narrator she likes him, and she knows the difference between him and Tyler. As the helicopters get closer and the timer runs down, the Narrator recalls the explosives Tyler used: nitroglycerin and paraffin, a combination which some Project members used but the Narrator has never found successful. As soon as he realizes the explosion’s composition is likely to fail, the Narrator puts the gun back in his mouth and pulls the trigger.
The Narrator believes he is dead. He finds himself in a quiet, white-on-white “heaven” where there are rubber-soled shoes, and he can finally sleep. People write to him in this “heaven,” and they tell him he is their hero. They tell him he will get better. Angels bring him meals and medications. He meets with God, and God asks him why he caused so much pain, why he did not realize all people are special, sacred manifestations of love. The Narrator answers: “We are not special. We are not crap or trash, either. We just are” (207). God tells him he is wrong, and the Narrator says you cannot teach God anything. When he shot himself, the bullet tore through the Narrator’s intact cheek, leaving him with a blown-out, smile like an angry Jack-o-Lantern. Marla writes to him, and she says someday they will bring him back to Earth, back to her. The Narrator says that if there was a telephone in Heaven, he would call Marla and this time he would not hang up. That said, he does not want to go back yet, because every so often one of the “angels” bringing his medication has a black eye, stitches, or bruises, and they call him Mr. Durden.
Tyler interprets the Narrator’s inner wishes as permission for concrete action. This time, Tyler takes control and kills the Narrator’s boss shortly before the mechanic picks him up from work, which is why the Narrator smelled gasoline on his hands when he woke up at his desk. Now, however, Tyler’s actions put the Narrator in harm’s way, as the police are looking at him as the prime suspect in his boss’s murder. The Narrator’s encounters with Project Mayhem followers become more horrifying as the chapters progress. He comes close to losing his testicles until another follower shouts, “Don’t hurt him” (190). Later, when he awakens in his old apartment, the Narrator is surprised to find some followers treat him with the utmost respect. These two attitudes are in direct conflict, which suggests that there are rifts within the Project itself. When the Narrator learns of Tyler killing a city official, he realizes that the Project is spiraling out of control. Now there are two needless deaths (that he knows of), and the Narrator resolves to take responsibility for Tyler’s actions since they share a body and a mind. The novel implicitly shifts “I know this because Tyler knows this” (ibid) to “I did this because Tyler did this.” The Narrator’s chosen punishment is for members of his own Fight Club to beat him to death, but when he wakes up in the Paper Street house, it must be because a loyal follower saved him once again.
As the novel reaches its conclusion, the narrative catches up to where it began. Tyler wants them to die in a spectacular way so that the Project’s followers will view them as martyrs and elevate them to a holy status that will inspire them to become even more deadly and destructive. In a compelling reversal of what the narrative set us up to believe before, Tyler’s choice of explosives is revealed to be amateurish. For once, the Narrator knows better than Tyler. In earlier scenes, Tyler was clearly the expert on explosives, weaponry, and violence—the implication was that Tyler’s specialized knowledge transferred to the Narrator, but now it seems that the Narrator is the true expert while Tyler is secondary.
The Narrator’s final philosophical stance is neither optimistic nor nihilistic, but one closer to acceptance, approaching the Zen ideas he originally appropriated earlier in the book. The conversation the Narrator has with God is likely part of a therapy session. Tyler once said that your father is your model for God, and that sometimes you find your boss to be a model for God if your father is absent. Now, the Narrator finds that his therapist steps into the God role. Instead of falling in step with the therapist’s assertions about humanity’s specialness, the Narrator holds firm to his own beliefs, refusing to sacrifice himself for someone else’s ideas again. Despite the joy he seems to take in Marla’s letters, the presence of nurses/angels who are clear followers of Project Mayhem deeply discomforts the Narrator. Though Tyler is no longer around, the Narrator does not wish to go back into the real world where the same followers, and likely the same social problems that caused all of this in first place, wait for him.
By Chuck Palahniuk
American Literature
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