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The deliberately shocking thematic content of Fight Club in both its novel and film incarnations has distracted scholarly attention from analysis of its formal structures, particularly as regards its narrative framing. The affective punch of both texts centers on the harried, hopeful, and increasingly violent action that provides the narrative proper, and it is this action, and its accompanying exploration of masculinity "in crisis," that has struck such resonant chords with readers, viewers, and critics.' In a sense, this focus is not surprising; the energy and rhythm of the texts invite it, and formalist analysis, with its attention to close reading, might seem a counter-intuitive approach to take with texts that appear to reject convention so emphatically. But a narrative frame does not appear in a text by accident; it is space that offers a meta-textual reflection on the cultural product it encases, a space where the author or director provides a more or less self-conscious commentary on the way the product might be read and consumed. In a pedagogical context particularly, teaching Fight Club as a literary adaptation requires foregrounding the way the narrative frames comment on the action in the narrative proper. While Fight Club's narrative plot is undeniably compelling, we ignore (and teach students to ignore) its narrative frame at the risk of reducing the text's complexity and difficulty. 041b061a72