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of fatigue or confusion” (TZ 26). The gaps cannot be conscious- ly triggered or induced (TZ 29) and therefore controlled. Nothing in Remy’s life is controllable. He is divorced and his teenage son Edgar, who partly immerses himself in the alternative world of a computer game (“Like an alternate world…Just like the real world”, TZ 30), insists on proclaiming the death of his father: “I’m grieving my dead father” (TZ 33). When Edgar philosophically announces “Don’t tell me I shouldn’t be devastated by the death of my father just because he isn’t dead!”, Remy

personalities called “The Group”. Eventually, some computer game inspired violent scenes with pump guns erupt while civilization is doomed (Zur 2005). 324 | BEWARE OF THE OTHER SIDE(S) unnamed narrator felt trapped within the forces of consumerism, the essentials of Ty- ler Durden’s pastoral scenery of a new autarkic human species paints a picture of a post-capitalist society: “‘Imagine’, Tyler said, ‘stalking elk past department store window and stinking racks of beauti- ful rotting dresses and tuxedos on hangers; you’ll wear leather clothes that will last you the

, and in the city of “Serendipity” everything seems to be under control. Situated at the Pacific coast of today’s British Columbia, shielded by walls and governed by “Saturna,” one of six mega-corporations that rule the market and thus the world, Serendipity is populated by well-to-do middleclass citizens, who subsist on virtual, computer-game-style labor and flawless, genetically engineered foods. The task of these citizens is the administration of corporate profit and production, a production, notably, that is predominantly delegated to female, genetically