Adam Nayman on the Production and Cultural Impact of the Still-Controversial Film
The following is an excerpt from the new book David Fincher: Mind Games, by Adam Nayman.
Fight Club was adapted by screenwriter Jim Uhls from Chuck Palahniuk’s cult 1996 novel of the same name, which traced its gestation to a Portland-based author’s workshop specializing in “dangerous writing.” The enclave’s transgressive, minimalist mandate would be allegorized in Fight Club’s eponymous bare-knuckle boxing group, whose members become the acolytes of Tyler Durden Project Mayhem, in effect going from pummeling one another to “punching up” against the forces of late capitalism.
In his foreword to a 2004 reprint of the novel, Palahniuk reflects on the book’s themes of catharsis and self pity and ties them to a literary moment “[full of] novels that presented a social model for women to be together.” He cites bestsellers like Amy Tan’s The Joy Luck Club and Whitney Otto’s How to Make an American Quilt and notes the lack of corresponding masculinist examples; with the calculated humility of a writer who no longer worries about his advance, he proposes that his breakthrough novel’s popularity was a simple matter of supply and demand.
The question of whether Fight Club, in either literary or cinematic form, fills that void deepens it, or disappears down it—or if, like Tyler Durden, such a void ever really existed in the first place—was open at the time and remains so. Twenty-five years after its publication, Fight Club looks like a signal work anticipating, dramatizing, and perhaps exemplifying a condition recently identified as “toxic masculinity,” loosely defined by New York Times essayist Maya Salam as “a series of cultural lessons . . . linked to aggression and violence.”
Buy the book David Fincher: Mind Games. By Adam Nayman