Course Hero. "Fight Club Study Guide." Course Hero. 17 May 2017. Web. 26 Apr. 2018. <https://www.coursehero.com/lit/Fight-Club/>.
Course Hero. (2017, May 17). Fight Club Study Guide. In Course Hero. Retrieved April 26, 2018, from https://www.coursehero.com/lit/Fight-Club/
(Course Hero, 2017)
Course Hero. "Fight Club Study Guide." May 17, 2017. Accessed April 26, 2018. https://www.coursehero.com/lit/Fight-Club/.
Course Hero, "Fight Club Study Guide," May 17, 2017, accessed April 26, 2018, https://www.coursehero.com/lit/Fight-Club/.
The narrator claims Marla is the center around which everything pivots. Yet Tyler is the character who gets most of the narrator's attention and energy.
The narrator wants to share the support groups evenly; Marla's one grudging concession sounds like she is wishing cancer on the narrator.
This is an example of situational irony. Although fight club's first rule is to not talk about it, fight club is an underground culture that preserves its traditions orally: the members do talk about fight club because that's how it keeps growing.
The narrator calls himself a "thirty-year-old boy"; he thinks women would only infantilize him further with their mothering.
Tyler teaches the narrator he must "hit bottom" or he'll "never really succeed." Tyler applies this principle, that new life comes only after a disaster, to both men and civilization.
Both Tyler and the narrator believe their generation has been damaged by their fathers' absence. Here Tyler expresses the corollary: they have been damaged by their mothers' presence.
Without their death, their pain, without their sacrifice ... we would have nothing.
Tyler says the burning of heretics led to the discovery of soap. Soap seems a small gain to lose one's life for, but Tyler seriously values the principle of sacrifice as essential for progress.
The support groups cured the narrator's insomnia for a while. He finds fight club even better than the support groups, but it makes his "insomnia" worse. He later realizes Tyler is active at night, so he himself never really sleeps.
The spots don't go away, they spread until they cover you and then you die.
Though he doesn't mention it by name here, the narrator is afraid of AIDS. He imagines Kaposi sarcoma, a cancer that develops in people infected with HIV, as something that practically devours a person. The cancer usually appears as blotches or tumors on the skin.
The narrator finds human connection difficult; this is mostly other people's fault, he thinks. Other people think about their checkbooks, or they wait for you to stop talking so they can talk. It's possible the difference is internal; only when he wraps himself in the aura of death does the narrator feel he's worth talking to.
Tyler had nothing to lose. Tyler was the pawn of the world, everybody's trash.
When Tyler's boss tries to fire him, Tyler responds with blackmail. His other weapon is his ability to sink even lower than he's been pushed. He calls himself "everybody's trash"; now no one can get in another blow.
The narrator thinks he is talking about his immediate situation: he has just woken up, and he's about to follow Tyler's orders. Tyler is pulling his strings. But the narrator speaks a larger truth, which readers only realize later: Tyler and the narrator occupy the same mind and body.
The mechanic is repeating Tyler's philosophy. Here Tyler's strategy of self-degradation is turned outward on the world. If the men of fight club are frustrated that the world's riches have been withheld from them, they can take satisfaction in soiling and destroying those riches.
The narrator's attempt to shut down fight club fails miserably. Tyler gave the organization a leaderless structure. This failure foreshadows the way Project Mayhem will survive the rooftop shoot-out.
To everybody there, I am Tyler Durden the Great and Powerful. God and father.
The narrator's words recall The Wizard of Oz, in which the wizard tries to intimidate his visitors by booming, "I am Oz, the great and powerful!" Like the wizard, Tyler is a charismatic figure who turns out to run things from behind a curtain; he is just a part of the narrator. Unlike the wizard, he is fatally dangerous.