According to the theory of “othering”, or alterity, people try to define themselves by what and who they are not. But, it can be difficult to define oneself by using othering. This is because, by definition, it limits organic individuality. It only gives meaning when there are comparisons. Fight Club as well as Extremely Loud & incredibly Close are two stories that focus on the characters’ search for healing and catharsis. The “other”, however, is treated differently in both Fight Club and Extremely Loud & Incredibly Close. In Fight Club, alterity is rejected as a coping mechanism, while Extremely Loud & Incredibly Close considers the “other,” as something to avoid because it denies individuality.
Fight Club’s Edward Norton is the character of the narrator. He seeks to escape his numbed, consume-driven existence and finds relief when he accepts the “other” that he has created. The narrator in Tyler Durden is everything that he isn’t. The narrator discovers that Tyler isn’t a person, but a manifestation his desires. Tyler tells him of Tyler’s composition. I am what you would like me to be. I’m as fucking as you want. I am smart, I am capable. I am also free in all ways that you aren’t” (01:48,45-57). This passage is full of pronouns that make it clear that Tyler (and the narrator) are separate persons. The opposition of the words “you’s”, “me” and “you” suggests that Tyler and Tyler may be considered equals, making them prime candidates for alterity. Tyler claims to be better than the narrator at looks, love, freedom, and other areas. Unfortunately, Tyler is not as competent as Tyler. Tyler may have been the “other” to the narrator at first, embodying all that the narrator wants but isn’t. However, in the film’s last scenes, Tyler embraces the “other.” This is when the narrator acts in rebellion against the “other,” by taking Tyler’s place as the “other.” This isn’t real. It’s not even in your hands. It’s in mine” (02:04;46-56). The gun that once belonged to Tyler is now in the narrator’s own hand. As the narrator learns how to blend himself with Tyler’s character, he puts on Tyler’s mask. The scene continues when the narrator puts a gun in his mouth to Tyler’s protest. Our leader. The narrator confirms that Tyler and he are one person by contrasting “my” with “our”, The decision of the narrator to pull the trigger is not meant to eliminate the “other”, but to try to meld himself with Tyler Durden. Tyler, who is now bleeding from his skull, falls to the ground. The movie ends with the narrator responding to Tyler’s “Mr.” name change. Durden takes Tyler’s position as leader, a position Tyler had fiercely resisted throughout the film. Fight Club’s close friend Fight Club’s Narrator makes an attempt to identify with him and become his “other”–a process that he rejects traditional notions about alterity. Instead, he becomes what he was not meant to be.
Fight Club’s “other” becomes a problem to be overcome and an obstacle to catharsis. Tyler Durden was created as the “other” by the narrator. However, Tyler’s objective is to combine Tyler and his personalities at the end. Tyler and Tyler are only half what the Narrator needs. His “other,” he can finally reconcile with himself.
As the credit card companies crumble before him, the narrator begins to function fully and can show emotion. Marla never felt affection from the narrator because he was unable to love him.
Jonathan Safran Foer’s novel Very Loud & Incredibly Near plays Alterity in a slightly contrasting role. Oskar, the protagonist at nine years old, battles with his father and grandfather throughout the novel. Oskar resists any comparisons to his deceased father and grandfather in his quest to regain control over his life and his prospects for a brighter future. Oskar’s maternal grandmother and mother continue to compare him with unobtainable men.
“Mom, it makes me feel uncomfortable when you tell me something I do reminds you of Dad.” “Oh. I’m sorry. Are you doing that often?” “Yes, I do.” “I know. It makes my feelings weird, because they are gone. It makes me feel special.” (43)
Oskar feels “weird” when he is compared to his father. However, Oskar does not want to be like his father or grandfather, and he rejects the notion of alterity. Oskar is more interested in finding catharsis through his independence from outside influences. Oskar, who is determinedly pushing through the past to the future, discovers that reminding others about the past is not a source of comfort but instead creates tension and frustration.
Oskar could not stand for this comparison and claim he does not look like his grandfather or deceased father. He also invokes the identity of “other” to help him define himself. Oskar is determined to overcome the tragedy caused by his father’s suicide. Any kind of comparison, be it one that is similar or different, will hinder his recovery. Oskar travels around the city in search of the “Black” who knew him father. He meets Ruth Black, whom he likens to her deceased husband. He had amazing, bizarre ideas all the time. “A little bit like me,” she said to my, which gave her heavy boots. Why couldn’t they remind me of you?” (252). Oskar doesn’t like Ruth’s positive description of her husband. Instead, he feels the “heavy boot” tugging at him. Oskar resists being compared to others. Ruth Black, inadvertently, compares Oskar with her deceased husband and disallows his individuality. Oskar is tired of feeling like another person. He wants his own identity. Ruth Black inadvertently compares Oskar to her dead husband.
Extremely Loud & Incredibly Near is therefore far more dangerous than Fight Club’s “other”. Oskar must let go of all notions of alterity in order for him to feel some sense of self-worth and catharsis. Oskar feels resentful when he is made to compare himself with his grandfather and father. Both men were able to abandon their families in some way. Oskar chooses to resist the temptation to compare himself to others and embrace alterity. Instead, Oskar prefers to identify his self by self-managing and self-contained. Fight Club’s “other” and “self” are combined into one. Oskar, however, sees the “other”, and resists comparisons to protect his individuality.
Fight Club and Extremely Loud & both embrace and denigrate the notion of using the “other”.
Amazingly close. The texts are very similar. Whether or not that effect is beneficial or detrimental depends on how the author views their personal identity development.
