A plot surrounding narcissistic famed-personas and root beer-eyed scheming “specimens” poses a prominent caution sign, and superimposed, when it is written by Chuck Palahniuk. The author of Fight Club lets ode to the Old Hollywood with his novel Tell-All, one of his most exhaustive works thus far (sparing Rant; that was a complete sweat).
Yet this is the same reason why the author endures his post-Haunted days. He has not much interest in colouring inside the lines, obviously, which is true for this novel. For all its brittle plotting and tiresome name-dropping, though, Tell-All remains brimming in true Palahniukian spirit.
The distinctive print, for instance, borders from amusing to completely distracting; with literally every pronoun put in bold, most of which will be obscure to contemporary readers.
You somehow get it. Gallant ‘star-sitter’ Hazie Coogan wants what’s best for film star Katherine Kenton. And when a brooding, brown-eyed specimen approaches Miss Kathie and right then and there, Hazie knew something fishy was up. Make denouncing comments about him in bold-faced pronouns? Let’s.
But then in the rather uneventful first half, she asks readers permission to “break character” and starts to glue a posessive into Ms. Kenton’s name — “my Miss Kathie,” says the self-proclaimed ‘surrogate spine’ and (when requisite) ‘established puppeteer.’
Told in Hazie’s perspective and presented in an awkwardly prose of film script vocabularies, Palahniuk arrives with a bunch of the most irksome characters existing in literature. Hazie, in particular, sounds like a frustrated Pulitzer trier-hard. It is difficult to meet someone who comes to talk so rubbishly of Mae West’s vagina with even a lick of sympathy. Yet, as ever in Palahniuk’s works, as a principal character she squeezes with much idiosyncratic zest: Hazie is an obvious twat (also where requisite), and her almost-invisible crises could be just as heart-breaking as everyone else’s; but will not take any of sympathy from you. She brims with self-knowing, making peace with the fact that she is “not the sorceress, [but] only the source.”
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Palahniuk’s is not a Katherine Kenton book. Hazie has already made it clear it belongs to her. “The factory itself.”
It does not make a better story for its readers — the second half is essentially a filler to the inevitable twist, all in deplorable heavy-handedness — but Tell-All is thus far one of Palahniuk’s ballsiest middle-finger, signaling his readers that he is indeed the top dog of sick pups and means to for long.
TELL-ALL
By Chuck Palahniuk
179 pp. | Doubleday | P 999 (Fully Booked, PH)
As far as we know Palahniuk (Paula-nick) don’t need criticism. Shitting in your face, that is transgressive fiction. But, this article is interesting. I hope you can have a review about Will Self’s Cock and Bull, Irvine Welsh’s Trainspotting, J.G. Ballard’s Crash, and Bret Easton Ellis’ American Psycho. And you can also try to review Filipino transgressive fictions like Norman Wilwayco’s novels, Ang mga Kwento ng mga Supot sa Panahon ng Kalibugan, and Pseudo Absurdo Kapritso Ulo (PAKU Journal). BTW, sana minimalism na rin gamitin mong language sa mga transgressive fiction. 🙂 Kudos!
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As far as we know Palahniuk (Paula-nick) don’t need criticism. Shitting in your face, that is transgressive fiction. But, this article is interesting. I hope you can have a review about Will Self’s Cock and Bull, Irvine Welsh’s Trainspotting, J.G. Ballard’s Crash, and Bret Easton Ellis’ American Psycho. And you can also try to review Filipino transgressive fictions like Norman Wilwayco’s novels, Ang mga Kwento ng mga Supot sa Panahon ng Kalibugan, and Pseudo Absurdo Kapritso Ulo (PAKU Journal). BTW, sana minimalism na rin gamitin mong language sa mga transgressive fiction. 🙂 Kudos!