People had been working for so many years to make the world a safe, organized place.

Nobody realized how boring it would become.

With the whole world property-lined and speed-limited and zoned and taxed and regulated, with everyone tested and registered and addressed and recorded.

Nobody had left much room for adventure, except maybe the kind you could buy.

On a roller coaster. At a movie.

Still, it would always be that kind of faux excitement.

You know the dinosaurs aren’t going to eat the kids.

The test audiences have outvoted any chance of even a major faux disaster.

And because there’s no possibility of real disaster, real risk, we’re left with no chance for real salvation.

Real elation. Real excitement. Joy. Discovery. Invention.

The laws that keep us safe, these same laws condemn us to boredom.

Without access to true chaos, we’ll never have true peace.


Chuck Palahniuk (born February 21, 1962) is an American novelist and freelance journalist, who describes his work as transgressional fiction.

He is the author of the award-winning novel Fight Club, which also was made into a popular film of the same name.

The narratives of Palahniuk‘s books often are structured in medias res, starting at the temporal end, with the protagonist recounting the events that led up to the point at which the book begins. 

Palahniuk says that his writing style has been influenced by authors such as the minimalist Tom Spanbauer, Amy Hempel, Mark Richard, Denis Johnson, Thom Jones, Bret Easton Ellis and philosophers Michel Foucault and Albert Camus.

In what the author refers to as a minimalistic approach, his writings include a limited vocabulary and short sentences to mimic the way that an average person telling a story would speak.

In an interview, he said that he „prefers to write in verbs instead of adjectives.“

Repetitions of certain lines or phrases in the story narrative (what Palahniuk refers to as „choruses“) are one of the most common characteristics of his writing style, being dispersed within most chapters of his novels.

The characters in Palahniuk‘s stories often break into philosophical asides (either by the narrator to the reader, or spoken to the narrator through dialogue), offering numerous odd theories and opinions, often misanthropic or darkly absurdist in nature, on complex issues such as death, morality, childhood, parenthood and a deity.

Other concepts borrowed from Spanbauer include the avoidance of „received text“ (cliched phrases or wording) and use of „burnt tongue“ (intentionally odd wording).