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Did someone just write a 180-page book and slap Chuck’s name on it for shits and giggles? And if so … Chuck, why did you let this happen? These are the exact thoughts that ran through my head as I started reading Palahniuk’s latest novel, “Tell-All.”
The Chuck I once knew and loved through “Fight Club,” “Rant” and “Choke” was no longer present in “Tell-All.”
Now, if you haven’t read any of his previous books, they’re beyond incredible.
They’re brilliantly bold and bizarre. Purely raw. They’re filled with a rare mixture of cynicism and creativity I have yet to see from any other author.
His use of satire, dark humor and irony is what he is known for, along with startling plot twists.
Although Palahniuk still uses the same methods and techniques to write “Tell-All,” there are only glimmers of what his work usually embodies.
“Tell-All” pays homage to vintage Hollywood during the 20th Century and exposes the reality that it revolves around celebrity worship and glorification.
Katherine Kenton is a narcissistic, aging actress who has undergone too many cosmetic surgeries, gone through too many marriages and has been self-destructive for far too long.
She spends her entire life superficially trying to restore her beauty and fame. But she wouldn’t have that life without the help of her confidante/maid/creator, Hazie Coogan.
Hazie not only completes household chores such as defrosting iceboxes and locking doors, but she is the one person that keeps Kathie going in life.
Far too soon after the death of her latest husband, Kathie falls for a young, seemingly sly character named Webster Carlton Westward, III.
Almost immediately, Hazie’s warning flags go up as Webster weasels his way into Kathie’s town house by attacking her weaknesses and seducing her to the point of helplessness. She is lovestruck.
Once it is revealed that Webster is working on a memoir of his intimate relationship with Kathie (in which she ultimately meets her death), Hazie stops at nothing to make sure that Webster does not have a permanent spot in her life.
Palahniuk sets this story as if it were a screenplay. Instead of chapters, he uses acts and scenes.
As he flounders from event to event, he makes a mockery of Kathie’s failures in life by constantly name-dropping and taking quotes from celebrities, journalists and gossip columnists (always in bold print).
Not only is it distracting, but it gets old after 15 or 20 pages, and my 19-year-old mind could only grasp maybe one-quarter of the references.
But to say the least, these coined phrases play a huge role in the life of Kathie; rather, they make up the life of Kathie along with the entire Hollywood scene.
Clever phrases such as “was-bands” are used instead of ex-husbands. His use of humor and cleverness is definitely more subtle than in his previous works.
In one scene, Palahniuk goes through the steps Kathie takes as she considers adopting an orphan. She compares the shade of pink she just painted her walls to the babies’ skin only to find that none match up just right.
She tests the babies’ tolerance to perfume and powdered faces to find that none are quite up to par. She examines herself in a mirror to see if the baby is the right accessory for her, but she can’t find one that fits.
Palahniuk turns the serious event of adoption into something silly to show just how oblivious Kathie is to the real world. Again, still entertaining, still Chuck, but on a whole new level.
This book is not for everyone. It will take time to get into, especially if you’re expecting the same old Chuck.
It’s something new and experimental Palahniuk has brought to his readers. In fact, he may even be trying to reach a different kind of reading audience. It’s exciting to see something different from him, almost shocking.
So don’t have any high expectations or try to compare it to his previous works, because you’ll be sadly disappointed.
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