Dövüş Kulübü ve Ninni: Chuck Palahniuk'in yazınındaki travmatik geçiş

Albeit mostly known for his best-selling novel Fight Club (1999), Chuck Palahniuk has steadily kept producing and gained a prominent place in popular culture. While the author asserts that his works belong to a group of "transgressive" novels, as he and critics observe, his approach has undergone a noticeable change following 9/11. Despite the acceptance of this assertion, a detailed account of this shift and the role played by 9/11 in prompting this change has not yet been given. This study attempts to provide a detailed account of this phenomenon, and taking into consideration both the author's philosophy and the nature of the 9/11 attacks, uses the theoretical and critical lens provided by trauma studies. While utilizing Dominick LaCapra's theories vis-à-vis trauma and literature, especially his formulation of "traumatic writing" and reformulation of the "working through" and "acting out" duo, this study takes as its departure point Ann Kaplan's methodology, and suggestion that "9/11 produced a new subjectivity." While the reason(s) for the dearth of analyses of Palahniuk's works in trauma studies scholarship will also be considered, under the light provided by this theoretical framework, this study holds the position that Palahniuk's most famous, signature work Fight Club and his first novel after 9/11, Lullaby (2002) constitute excellent examples of "traumatic writing," and further that the most significant point on which the two novels diverge is their approach towards and portrayal of the post-traumatic process and that this stark divergence is indicative of the "new subjectivity" posited by Kaplan.