The Ballardian State of Nature.

The Noble Savage.
 

In Ballard's High-Rise (1975) we see the professional inhabitants of a luxurious apartment building descend into mayhem and debauchery. It began with wild sectarian parties, then the swimming pools and the school were cut off from the dwellers of the lower levels. Gradually the high-rise becomes more and more cut off from the outside world. As the services of the high-rise begin to break down, a war breaks out between the middle floors and the lower floors. Barricades are put up to keep marauders at bay. Dogs are released into the air-vents and hunted down for food by the tenants. Initially the metaphorical class system of the high-rise degenerates to a stratified array of competing tribes - a war of all against all - and then further to the level of disassociated hunter-gatherers. This is reflected by bizarre rituals of sexual domination, Wilder drifts from floor to floor sleeping with numerous women along the way as Royal creates a sort of "harem" on the 40th floor. 

The protagonists are Robert Laing, Richard Wilder and Anthony Royal, who reside in each of the three segments. Laing is recently divorced and is trained physician who teaches at a medical school, to avoid entering the field of a general practitioner and treating patients. Ironically Laing has found his first "patients" by the end of High-Rise. Wilder works in the television studies and initially tries to produce a documentary on the high-rise. He moves into the high-rise with his wife Helen and two sons, but abandons them to "climb" the building - a metaphor for the meritocrat. Royal is one of the architects of the high-rise, he resides on the 40th floor with his upper-class wife and attempts to cultivate a position of power over the whole building. In these aristocratic pursuits, the polar opposite of Wilder's "ascent", Royal builds an entourage of servants and a "harem" (including Helen Wilder) at the top of the high-rise.


At first the segmented nature of the high-rise is a metaphor for the class system, the first 10 floors are occupied by the lowest earners and represent the proletariat. The top five floors are occupied by the highest earners and most prestigious tenants, like Anthony Royal on the 40th floor, whilst floors 10 to 35 are inhabited by a kind of middle-class. Though the entire building is home to professionals, the kind of people who would be regarded as members of the bourgeoisie, who are brought down to earth as the high-rise seems to unleash primitive behaviours among the tenants. The bourgeois veneer falls away as the characters hold back less and less, from alcohol and parties to sex and violence, as if venturing into a primeval realm where one's true self might be found. Out of the main characters it is Laing who seems to find himself in the chaotic trajectory of life in the high-rise. By the time we are introduced to him, from which point the rest of the story is told in flashback, Laing is content eating dog in his apartment with Alice and Eleanor.


The most vitriolic of Ballard's detractors would claim that his characters remain two-dimensional, lack development, and Ballard's works are totally plot driven. This is ignorant of the way Ballard externalises human experience to the point that the changing setting becomes an extension of the characters. In High-Rise the building itself becomes a revealing extension to the development of characters. For instance, Richard Wilder begins on the second level and ends on the roof of the building. Wilder abandons his wife Helen and sons, locking them inside the apartment, to pursue reaching the 40th floor and a confrontation with Anthony Royal. He gradually becomes a bearded, almost naked, savage in this pursuit. The plans to make a documentary about the high-rise have faded by the novel's conclusion, the camera Wilder carried around with him to shoot the opening for the documentary is reduced to a inanimate object - the purpose of which he no longer understands. Towards the end the graffiti and vandalised walls of the high-rise are in the process of being replenished it would seem, as a new social order emerges.

A War of All against All.

This view of a war of all against all may be Hobbesian, but the wider view is a Rousseauian one. Many of the works of JG Ballard focus on the pathological aspects of Western civilisation, car crashes are eroticised and human beings adapt to life on a traffic island. The social order of a Leviathan idealised by Thomas Hobbes is not found in contemporary society. Instead social decay is  almost omnipresent and at the root of it all is the development of civilisation, specifically the striving towards a social order which would be born from the innovations of science and technology. The high-rise itself is a product of this striving, which is precisely why it is the ideal setting for the story, it is partly the force behind the destruction of the order it is striving for - namely, the primeval desires unleashed within the confines of the high-rise. The capitalist social order is the first to be dissolved in the apartment building, which in turn opens up a void where a new tribalism reigns only for this to fragment into a perpetual war between individuals.


Royal and Pangbourne, a gynaecologist, share the view that the high-rise is a liminoid experience from which a new social order may emerge. In the high-rise the average tenant has entered into a common realm with others, while the identity and status bestowed on them by society is gradually lost. Personal identities as well as relations to others are explored, challenged and decimated to give way for a new set of identities. Near the climax of High-Rise Royal no longer enjoys the life of "zoo-keeper" and identifies more and more with the scavenging gulls, earlier in the novel he even notes that his white safari jacket and greying hair is similar to the feathers of these birds. The transition from "zoo-keeper" to "non-human animal" would not necessarily be a hidden desire to be one of the herd as the gulls are free to fly away. Anthony Royal is passive whereas Richard Wilder is rebellious in his ascent of the building, whereas Robert Laing is the "moderate witness" who survives the vicissitudes which transpire as the social order crumbles.


In the end Royal is shot dead by Wilder, who is in turn killed and cannibalised by the women of the high-rise and Laing is left cooking an Alsatian for the two women barricaded in his apartment with him. After the layers of a social fabric produced by economic relations dissolve in the high-rise, as does the successive stages of tribes and hunter-gatherers, the only remaining order is patriarchal and it is next to breakdown. In killing Royal, Richard Wilder has completed his ascent and in doing so has initiated a paradigm shift so radical that the transition destroys him. The women of Royal's "harem", who are described as Wilder's new mothers, turn their carving knives on Richard Wilder as he reaches the penthouse and strips naked. The raiding parties are led by Helen Wilder, who let Robert Laing live as he appears submissive to Alice and Eleanor - a form of passivity to the new order perhaps. As Laing cooks Royal's favourite dog, a white Alsatian, for Alice and Eleanor he is at peace as he notices that the events of the building are spreading to another apartment block nearby.


Although Rousseau adhered to a conception of the state of nature which was harmonious and individualistic, High-Rise is not purely Rousseauian in themes as Ballard's vision is of a collective and not of individualism. The tenants of the high-rise began as atomised individuals and by the novel's conclusion the building is in transition. The contagious spread of the events in the high-rise to another building nearby represents the beginning of a shift to collectivism devoid of the boundaries propped up in the preceding orders. The confines of the high-rise could not constrain the events in the end. The radical shifts which systematically undermine and breakdown every paradigm to emerge in High-Rise may be driving towards a kind of "zero-point" like the state of nature. A point where divisions of class and sex have been smashed, the heights of subjective freedom, though not realised through the state as that would still require a reliance on scientific and technological innovation. The vision portrayed is anarchic, to say the least, and there are early signs of a radical feminism emerging as the "zero-point".

Crashing and Burning in Montreux.

The controversial book Lolita was written by Vladimir Nabokov and published in 1955, known for the innovative and lyrical style in which the narrative unfolds page-by-page, the infamy that has enveloped the novel is down to its content which focuses on the most sordid sexual deviancy - paedophilia. It is a dark tale of a middle-aged man and his obsession with a 12 year-old girl, the nature of this "love affair" is disposed towards rape and physical abuse. Nabokov insisted that his book did not convey any message, and it was not a work of "big ideas", stressing that he didn't want to "touch hearts" or "effect minds". I can't help but suspect that this element of Nabokov's work is partly due to his outlook and political views. Nabokov was a strident individualist and considered himself an old-fashioned liberal, which is likely given that his father was a prominent liberal politician, although Nabokov was also a close friend of William F Buckley and a fan of Richard Nixon.


It's important that we consider Nabokov's life. Vladimir Nabokov was born into one of the most powerful families in St Petersberg and inherited great wealth at a young age, he lived in a large house of 50 servants. Though this life of luxury as a Russian aristocrat was cut short by the Bolshevik Revolution, foring Nabokov to go into exile just as he was reaching maturity. This separated him from his first love Tamara, Lolita could have been Nabokov's way of mocking the way he still reminisced on his relationship with Tamara even in old age. Particularly as he aged she would have no doubt remained the same age in his mind as he had known her. Nabokov's father was shot dead by a fascist in Berlin, his gay brother was murdered in a concentration camp. These events not only displaced Nabokov and changed his life forever, but it may be the reason for his individualism. From the trampled ground of Bolshevism and fascism Nabokov emerged, like Ayn Rand although less extreme, in opposition to "big ideas" and "utopian goals" like communism.

Nabokov's claim to not propagate any message or "big idea" in his work is typical of an "old-fashioned liberal", who would argue that the state should be minimal to protect individual freedom. In the past, and even today, the libertarian right-wing has argued that the Civil Rights act should be repealed on the grounds that it infringes on the freedom of business owners - the freedom to discriminate. Defenders of such a position often claim to be "neutral" and adhere to a minimalist view of the state as "non-interventionist" for the sake of freedom of choice. But in not taking sides and not interfevening in such a way you are taking sides and are interferring. As such "neutrality" is permissive of the racist practices prevalent at the time. In not taking sides in Lolita, neither explicitly condemning nor embracing paedophilia, Nabokov may have taken the side of Humbert Humbert.

Apart from his life as a novelist Nabokov loved football and was an avid chess-player, he was also an entomologist. As an entomologist Nabokov collected over 4,000 butterflies and even discovered a species, which was named in his honour "Nabokovia". The life of a butterfly is particularly interesting in regards to Nabokov's writing. A butterfly begins life as a caterpillar, before entering an immobile stage known as the "nymph stage" before emerging as a butterfly weeks later. During the "nymph stage" the insect is neither caterpillar nor butterfly, in that sense it is in a liminal state. The parallel stage among humans would be the teenage years - which are neither child nor adult - liminal like the "nymph" stage. In the story Lolita is a prepubescent girl of 12, which would place her just prior to entering this liminal stage as a caterpillar. But it is as she is reaching maturity that Lolita dies while giving birth to a stillborn child, she was just 17 at the time - not yet an adult, not yet a butterfly.

However, we must not be rash and conclude from this that Vladimir Nabokov was simply no defender of paedophilia. Humbert Humbert is not the last "nympholept", nor was Lolita the last "nymphet", spawned by the dark-side of Nabokov's imagination. Similar tales of sexual deviancy appear as early as 1939 in Nabokov's work, beginning with The Enchanter and ending with Laura which he never finished and was published posthumously against his wishes. In total there are about six novels in which young girls are lusted after by mature men. As Martin Amis noted, about two or three of these novels are masterpieces but the content is nevertheless unsettling. It would appear that "nympholepsy" is part of the decor of themes and motifs - along with butterflies, chess, Freud-bashing, mirrors; doubles and dopplegangers - that are recurrent in Nabokov's works.

The Enchanter is similar to the first half of Lolita in that the protagonist infiltrates the household of his prey by marrying the girl's mother, after the mother is out of the picture (e.g. killed off), the "enchanter" despoils the prepubescent daughter. Though the differences are more important, and perhaps more revealing, than the similarities between the two books. The "enchanter" has a single voyeuristic "moment" with his nymphet, whereas Humbert Humbert has sex regularly with Lolita for about 2 years. The Enchanter is less subtle and crude than Lolita in terms of writing, in the former Nabokov writes at one point "he began passing his magic wand above her body". And yet it is Lolita in which Nabokov judges Humbert Humbert, tacitly holding him responsible for the trajectory of Lolita's life - from her defiled childhood to her premature death, a life stolen by Humbert.

Interestingly, The Enchanter was published by Dmitri Nabokov in 1987, whereas Lolita was published in 1955 when Nabokov was still alive, even though it was The Enchanter which was written first in 1939. This might lead us to conclude that Vladimir Nabokov was worried about the release of The Enchanter, nothing particularly new there as Nabokov contemplated burning Lolita on several occasions and wanted The Original of Laura to be destroyed upon his death. But it was not until Nabokov's later years that he underwent a literary meltdown, beginning with Ada in 1970. As Amis puts it "When a writer comes off the rails, you expect skidmarks and broken glass; with Nabokov, naturally, the eruption is on the scale of a nuclear accident." It is in Ada that Nabokov creates a world which Humbert would have adored - where nothing matters and everything is permitted.

On it goes in Transparent Things (1972) and Look at the Harlequins! (1974), in the latter a Vadim Vadimovich marries a girl 43 years his junior. In Transparent Things an impotent misfit named Hugh Person visiting Switzerland, courting Armande and tending to Mr R an aging eccentric author and a paedophile. Person looks at a picture of Armande when she was 10, arousing and haunting him in dreams from then on, he later strangles Armande in his sleep and dies in a fire at the hotel. The sexual depravity recurrent in some of Nabokov's many novels may place such works further to the transgressive fiction of William Burroughs and the Marquis de Sade. Though we might conclude Nabokov's writing on such a rancid transgression is really down to an obsession with the internal chaos of man. But I think that might still be too generous, even for an author of Nabokov's magnitude.

In Tyler we Trust. In Fight Club we Bleed.

"I wanted to destroy something beautiful I'd never have. Burn the Amazon rain forests. Pump chlorofluorocarbons straight up to gobble the ozone. Open the dump valves on supertankers and uncap offshore oil wells. I wanted to kill all the fish I couldn't afford to eat, and smother the French beaches I'd never see. I wanted the whole world to hit bottom. Pounding that kid, I really wanted to put a bullet between the eyes of every endangered panda that wouldn't screw to save its species and every whale or dolphin that gave up and ran itself aground." - The Narrator

It could be said, Fight Club is the story of a man depressed by the banal materialism of his life and his meaningless job, who descends into insomnia and eventually madness. He engages in civil disobedience against consumer culture, and ultimately commits an act of terrorism. This is the shallowest interpretation, that the story is simply about a man and his arc is guided by his dissociative identity disorder, which is true to an extent and should not be overlooked, but there is so much more to Fight Club than merely mental illness. In fact, if you accept such a view you are underestimating the film, as much as I did when I first held the DVD and read it's title. Though, when you really think about it, it is difficult to sum up what Fight Club actually is about, without negating some viewpoint or interpretation, since Fight Club is wonderfully polysemic. This is true of the film, but even more true of the novel. Therefore, this article is not about pin-pointing all of the themes and possible interpretations of Fight Club.

The novel Fight Club was written in 1996 by Chuck Palahniuk, the first of many wonderfully transgressive and satirical novels in his career. Palahniuk is best known for his unique style, darkly comic subject matter and somewhat "cultish" fan base. His most well known books are Fight Club and Choke. Palahniuk was heavily influenced by minimalists such as Tom Spanbauer and Amy Hempel, as well as postmodernists like Douglas Coupland and Bret Easton Ellis. His writing has also been influenced by Continental philosophy, specifically existentialism and post-structuralism. As a writer, Chuck specialises in transgressive fiction, satire and horror. There seems to be nothing that is out of bounds for Palahniuk. In the past his writing has featured fist-fighting, terrorism, pornography, plastic surgery, death cults, nihilism and masturbation-gone-wrong. The characters of his books, tend to be philosophical and misanthropic to some extent, usually present alternative views and theories about life. So far, two of his books have been made into films, Fight Club in 1999 and Choke in 2008, and it looks likely that some of his other novels may be adapted for film one day.

The time of which the book and film were made are of significance as the 1990s were a strange time in America and the world in a way. The Cold War had just ended, leaving the US without an enemy that would provide sufficient justification for their bloated defence budget. The limbo between the age of the "Red Terror" and the "War on Terror". Francis Fukuyama declared it the "end of history" and that capitalism, in the liberal democratic variant, had triumphed. As theoconservatives became increasingly prominent in the GOP and began campaigning against abortion, the 12 years of Republican rule came to an end in 1993 with the rise of Bill Clinton and the 'New Democrats'. The US seemed to be under threat more so from domestic terrorists in the form of white angry men living in the woods. The year before Fight Club was published, Timothy McVeigh and Terry Nichols bombed the Alfred P Murrah Federal Building in Oklahoma City, damaging or destroying over 300 buildings, killing 168 people and injuring 680. Until 9/11, the Oklahoma City bombing was the most horrific terrorist attack committed in the US. The attack was a reaction against the Waco Siege and the Ruby Ridge incident of the early 90s. The prospect of domestic terrorism in the US became more plausible after Oklahoma.

"You know, the condom is the glass slipper of our generation. You slip it on when you meet a stranger. You dance all night then you throw it away. The condom, I mean. Not the stranger." - Marla Singer

Chuck Palahniuk, the author of Fight Club, has been referred to as the "torchbearer for the nihilistic generation" and he continues to be associated with nihilism today. Yet he insists he is a romantic and it could be said that this romanticism bleeds into his work. "My novels are all romantic comedies, but they're just romantic comedies that are done with very dysfunctional, dark characters." At the core of most of Palahniuk's work, there is a romantic element, which often goes unnoticed by his readers, overshadowed by his unique blend of dark satire and transgressive minimalism. "Actually, my characters are still playing in a very classic sort of boy-gets-girl scenario, or girl-gets-boy scenario." In Fight Club, the love story is obviously centred around the narrator, also known as Jack, and Marla Singer. It could be said, he has reconstructed the genre of romantic comedy in his work, it is a combination of romance with dark humour that go so well together.

The relationship between Marla and Jack, and by extension Tyler Durden, has a Freudian quality, in the novel it is even described as a love triangle. The Oedipal overtones are even more overt in the novel, in which the narrator often compares Marla and Tyler to his parents. The narrator's father set up a new family every 6 years, Tyler described this as "setting up franchises", the way in which Durden later set up cells of Project Mayhem across America almost imitates this attitude. Jack's father embodies consumer culture and Tyler is the subversion of that embodiment. In "killing" Tyler, his father, his model of God, Jack rids himself of the qualities in him which reflect those individuals. It is these qualities that stand in the way of him and Marla. Palahniuk once pointed out that traditional literature is anti-passivity and anti-rebellion, but advocates a sort of moderation of passivity and rebellion in individuals. Traditionally, the passive character destroy themselves, the rebel is destroyed by society, but the moderate character survives and lives on as the witness. In Fight Club, Palahniuk collapsed these character archetypes into the narrator. Jack is initially the passive character that kills himself and Tyler is the rebel crushed by society. Subsequently, Jack emerges as the third character archetype, the moderate witness which walks off into mist.

It has been said often that Tyler Durden is the contemporary version of Nietzsche's Ubermensch. But after looking at the way in which Chuck Palahniuk collapsed the three character archetypes into one protagonist, one could conclude that by the film's climax, and the book's conclusion, that Jack is closer to the Ubermensch than Tyler. This theory, reduces the importance of Durden to a mere liminal being in the transition taking place in the life of Jack. Interestingly, the narrator only kills Tyler after the scene in which Durden deliberately crashes a car and has to drag Jack out of the wreckage, which is aesthetically very similar to a birth of a child. If we view the scene as one of rebirth, the narrator has been in a dormant, perhaps foetal, state up to now and has been brought into the world by accident. Only after leaving behind his dormant past can Jack replace Tyler as Marla's lover. It is fitting that Tyler, the subversion of father and God, is the one to drag Jack out of the wrecked car and into the world. The narrator began as the passive foetus and had to be "reborn" with the help of Tyler Durden. But ultimately Jack had to destroy Tyler in order to overcome the rebellious tendencies which had usurped his formerly passive nature.


Where does Marla fit into all of this, is she just a play-thing for Jack? There is an interesting theory going around on the web, that Marla Singer is just like Tyler - an extension of Jack's subconscious. After the shocking revelation that Tyler and Jack are the same person, it is easy to view the entire story sceptically. From such a point-of-view, it could be that the entire project is all in Jack's head. However, in Palahniuk's fiction there is a consistent pattern of strong female characters, in many ways stronger than the males. Marla shares some of Jack's characteristics, she attends group therapy and is somewhat nihilistic, but unlike him she does not have the need for a person to improve herself. To say that woman does not exist, is the lowest male mythology. This originates in the Adam and Eve story, in which woman is essentially man's desire realised. As pointed out in The Pervert's Guide to Cinema, a radical anti-feminist might even go further to say that woman is man's guilt realised. If man "cleanses" his desire, ridding himself of fantasies, woman ceases to exist. But it is Tyler who is the fantasy which the narrator "rids" himself of. Woman exists regardless of man's desire, as emphasised in Marla's refusal to leave the groups and forcing Jack to compromise.

"He was born in a mental institution and he sleeps only one hour a night. He's a great man. Have you heard about Tyler Durden?" - Robert "Bob" Paulson

Jack our anti-hero, the unlikeliest of proletariat revolutionaries, is the consummate member of Generation X. Cynical and nihilistic, lost to passive consumption. He's a white male, between the ages of 24 and 49, he should be at the tip of the American patriarchy. But he's not and he's very angry about it. An anger reminiscent of the common rage of white working-class Americans in the mid 1990s. In his early 30s, Jack is one of many children, all related to each other by one father, in his family that have been largely raised by women and neglected by their mutual father. He made yearly phone calls to his father asking advice about life, his father advised him to go to college after he's finished high school, once Jack finished college his father advised him to get a job. As a man, born in the late 1960s, old enough by the 1980s to receive a high school and college education, he was old enough to suffer through Reaganomics and the massive wage cuts they resulted in by the late 1980s (the second biggest cut in "labour costs" in the world, second only to those made by Margaret Thatcher).

In other words, Jack was old enough to endure the emasculating and humiliating chore of work in the service sector, without having enjoyed the glory of big muscles and a sense of community derived from unions that his working class forefathers took pride in. The workforce the narrator had to join in the early 90s had been virtually castrated by Reagan for the benefit of big business. He works as a recall coordinator for a major automobile company, the company is responsible for producing defective vehicles to cut costs, his job is to limit liability for this negligence and bad publicity. He only initiates a recall, if the cost is less than that of an out-of-court settlement, which the company is more than able to make. The words "How does he sleep at night?" come to mind. Jack is ultimately a tool for cost cutting, he is a service to the bourgeoisie, with "no special purpose or place". He is guilty, in his complicity with corporate criminals, of all the elites are guilty of. But he is still oppressed in his role as recall coordinator.

The narrator literally has no rightful place amongst the elites or the oppressed masses, he is one of "God's middle children" as Tyler once said. Many Americans consider themselves middle-class, and the middle-class is frequently referred to in US politics for this reason. In the novel the phrase is applied much more widely and accurately, because the first club formed by Durden consist mostly of middle-class Americans. This phrase seems to refer to the recurrent themes of fatherhood and consumerism, and the way in which the narrator equates them with each other. It is clear from other phrases like "If you could be God's worst enemy or nothing, which would you choose?" that Jack feels his role in the world as one of many middle children is one of insignificance. To the characters, consumer capitalism is almost God-like, the main difference being that capitalism can be escaped. Bu for Jack and the Space Monkeys there is only one way out, through violence.

"The liberator who destroys my property, is fighting to save my spirit. The teacher who clears all possessions from my path will set me free." - Tyler Durden

When we first meet him, the narrator is trapped by his desires for perfection through the consumption of goods, his "Ikea nesting instinct", and the earning of money is required to temporarily satisfy such desires. Of course, a permanent end to the desires which hold him hostage, thus his nihilism, is unattainable to achieve and he is trapped in a vicious circle, constantly seeking temporary release and constantly striving. The Ancient Greeks had a word for this, pleonexia, and Karl Marx had another term for it, commodity fetishism. If you live merely to pursue the accumulation of wealth, you are not free, you become a slave to that wealth. In the words of Tyler Durden "The things you own end up owning you." The self-harm and consensual violence is a way for him, and the Space Monkeys, to beat these fetishistic tendencies into submission. It is the severely indoctrinated qualities which become the object of horrific violence.

Breaking free of indoctrination hurts and letting go of commodities hurts, the revolution is a process of pain. Just as Fanon thought, the violence of the revolution is a liberation of individuals from the dominant deology, inducing pleonexia. Fight Club captures this notion in the violence that serves as escapism from the mind-numbing ennui of what commonly passes for life. Fanon felt this justified violence and even acts of terrorism. In the words of Tyler Durden: "I'm breaking my attachment to physical power and possessions, because only through destroying myself can I discover the greater power of my spirit." Though, the narrator is not a proletarian striving towards revolution, if anything he is the embodiment of the Western petty bourgeoisie or as Tyler labels them "[the] slaves with white collars." The point of the self-inflicted violence is that it cleanses the individual of indoctrinated qualities, that seem inescapable, in order to let go of the goods/services that possess you and to truly pursue a liberating revolution. Such qualities, Jack recognises in himself through Tyler, are the source of the narrator's self-hatred and self-destruction.

Violence is not just a tool to achieve political and ideological goals, for Fanon, it is cathartic and awaken the people, from the insidious hegemony of ideology, transforming them into "new men". This is particularly significant, as masculinity is another theme in Fight Club. The indoctrinated qualities, Jack and the Space Monkeys are desperately attempting to "punch out" with the guidance of Tyler Durden, are often emphasised as feminine or emasculate. The blond character, which the narrator notes as pretty and girlish looking, is the unfortunate subject of a particularly brutal beating from Jack. The fact that effeminate aspects of society are despised and treated with violence could be interpreted as misogynistic. However, it could also be said that the characters believe they are trapped in a similar situation, as women were prior to the Feminist Movement, that they are trapped and forced into subserviency. The subservient role the Space Monkeys have been forced into, is that of a wage slave, whereas the submissive role women were trapped in is that of the housewife.

Worker bees can leave
Even drones can fly away

The queen is their slave.

This is the only Haiku poem, from the others in the book, to also feature in the film. Notice that it highlights the roles of "worker bees" and "drones" as freer than the "queen bee". One could theorise that this poem, is an expression by the character's urge to turn the tables on the capitalist structures they so despise, reducing such structures to a subservient role. But due to the fact that the feeling of castration, seems to be a result of engaging with capitalism on such a devoted level, which may in fact be the reason that the individuals could grow to hate the femininity they associate with consumer culture, after it reduced them to "queens". One could say that the Space Monkeys and the Feminists both despise the subservient roles people are forced into, against their will and provided with no way out. Thus, Bob's "bitch tits" are not just literally the result of his role in society - promoting a chest-expansion program - but the result of the system which drove him to use steroids to such excessive lengths.

Some liberal film critics accused Fight Club of promoting nihilism and fascism. This is unsurprising in a way, Fight Club was released to a post-Columbine American audience, if the film had been released to a post-9/11 audience it would've probably been banned because of it's apocalyptic finale. Though, there are definitely aspects of nihilism and quasi-fascism in the film it is not a promotion of those "values", this is definitely a reactionary misinterpretation. The aspects of nihilism in Fight Club are a satirical reflection of the "anti-values" espoused by the American consumer democracy "You do the little job you're trained to do. Pull a lever. Push a button. You don't understand any of it, and then you just die." The narrator is referring to the truth of wage slavery and the role the public plays in elections, we're just here to rent ourselves out and to push a button every 4 or 5 years that allows the bourgeoisie to justify their status as our rulers.

The narrator's arc tunnels backwards through late capitalism and liberal democracy, showing us all the ugliness and brutality of "consumer democracy" along the way. He transgresses from what should be blissful passive consumption to the nihilistic nature of wage slavery and after that where else is there to head, except fascism? The quasi-fascist values present in Project Mayhem and it's progenitor, dictatorial rule and violent repression of all opposition, are the creation of Tyler Durden, who replaced the free market as the signifier for Americans who have become "Space Monkeys"; like Hitler becoming the signifier for Germans who became National Socialists. The fascism and nihilism of Fight Club is an exaggeration, that mocks the strange way in which capitalism and democracy stand together today.

Articles on Fight Club:
Masculine Identity in the Service Class: An Analysis of Fight Club

Fight Club: A Ritual Cure For the Spiritual Ailment Of American Masculinity

Fight Club: The Return of Hobbes
Interview with Chuck Palahniuk by Playboy
Interview with Chuck Palahniuk and a clip show
The Unexpected Romantic