Fight Club | Study Guide

Chuck Palahniuk

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Course Hero. "Fight Club Study Guide." Course Hero. 17 May 2017. Web. 24 Sep. 2018. <https://www.coursehero.com/lit/Fight-Club/>.

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Course Hero. (2017, May 17). Fight Club Study Guide. In Course Hero. Retrieved September 24, 2018, from https://www.coursehero.com/lit/Fight-Club/

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Course Hero. "Fight Club Study Guide." May 17, 2017. Accessed September 24, 2018. https://www.coursehero.com/lit/Fight-Club/.

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Course Hero, "Fight Club Study Guide," May 17, 2017, accessed September 24, 2018, https://www.coursehero.com/lit/Fight-Club/.

Fight Club | Chapter 25 | Summary

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Summary

Marla and the narrator put their plan for resisting Tyler into action. Marla offers the narrator pills to stay awake. She tells him he can take even more of the pills without throwing up if he'll insert them rectally. The narrator says no. They go to Marla's hotel; the desk clerk recognizes him. A bus driver had also recognized him, and he let them ride for free. The narrator tells Marla he should lie low; she suggests wearing a dress as a disguise, but he won't. The narrator thinks, or says, they have to do more than hide; they have to "get rid of Tyler."

Analysis

Now that Marla and the narrator have joined forces against Tyler, Marla seems to want to feminize the narrator by putting him in a dress. The narrator won't go against his personal ideals of masculine behavior just because he's fighting Tyler. He repeats, for emphasis: "I'm not cross-dressing, and I'm not going to put pills up my ass." Now the size of Project Mayhem's membership works against the narrator's plans to resist Tyler. Although the project started with 72 recruits in the Paper Street basement, it has spread across the country. The narrator says, of the hotel desk clerk, "I can imagine him calling some Project Mayhem headquarters"—not the headquarters, but one headquarters among many.

At times the narrator has seemed trapped in his own thoughts; Palahniuk's habit of omitting quotation marks turns the narrator's encounters with other people into interior monologues. Here the narrator faces a different trap: he would like to escape Tyler's basement and join the wider world, but the world he finds is thoroughly Tyler's.

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