I read this in anticipation of the upcoming movie. I liked it, but I didn't like it as well as either of the other two I've read by Palahniuk. It seemed a little forced, as a story, in comparison. For a first-time C.P. reader, I'd recommend Lullaby. Choke is a must-read for fans, but it won't make you fall in love.
Speaking of not falling in love, the first chapter explains that you won't love Victor Mancini, and it's right. It's not that you dislike the character, per se, it's that he's a non-entity in his own story, which perhaps is the point C.P. is trying to make with him. He's an addict without explaining the compulsion, a con artist without a satisfactory explanation why the con works (he isn't charming enough that I bought the con, coming from him), and he's quirky without ever really hitting endearing. Looking past the surface to the inherent nihilism in the story - none of us is really endearing or charming, or really ever has a reason behind anything we do - then it's fine. It doesn't strike me, however, that that's what the author was going for. Victor isn't absurdly quirky enough that he pulls off a commentary on extreme futility or nihilism. The result is that he falls flat as both a catalyst for social commentary and as a human being.
I will see the movie. The right actor could give Victor the charm needed to push this past a good story to a great story. Words alone didn't do it.
Speaking of not falling in love, the first chapter explains that you won't love Victor Mancini, and it's right. It's not that you dislike the character, per se, it's that he's a non-entity in his own story, which perhaps is the point C.P. is trying to make with him. He's an addict without explaining the compulsion, a con artist without a satisfactory explanation why the con works (he isn't charming enough that I bought the con, coming from him), and he's quirky without ever really hitting endearing. Looking past the surface to the inherent nihilism in the story - none of us is really endearing or charming, or really ever has a reason behind anything we do - then it's fine. It doesn't strike me, however, that that's what the author was going for. Victor isn't absurdly quirky enough that he pulls off a commentary on extreme futility or nihilism. The result is that he falls flat as both a catalyst for social commentary and as a human being.
I will see the movie. The right actor could give Victor the charm needed to push this past a good story to a great story. Words alone didn't do it.
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