These two spend their days endlessly lost in recreations of their grandfather’s past instead of forging their own stories. There’s a toxic nature to these two–one as teacher and the other as student, like in many of Palahniuk’s stories–as they orbit one another and critique masculinity, queer culture, and high society, but never as adeptly as Palahniuk’s done in the past. Otto and Cecil are the best and worst people for each other. Despite this, they’re willing to tear down the world and get drunk on delusion in order to stay together and avoid the inevitability of adulthood. Palahniuk has arguably done more with less in the past ( Pygmy, Adjustment Day, Tell-All ), but it’s not enough to properly elevate Not Forever, But For Now.īrothers, Otto and Cecil, are terrified to be apart from one another, yet are steadily outgrowing the other and in need of independence. Intense plotting and a moving story aren’t always necessary for a good novel, which is part of the power of prose.
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There’s so little story here that Not Forever, But For Now would only cover two or three episodes of television–not a full season–if it were actually a series like Succession. In the end, Not Forever, But For Now is ultimately more The Idol than it is Succession. Palahniuk doesn’t do enough with this rich premise beyond its earliest ideas.
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A power struggle within a family of serial killers over their future’s direction could be compelling. Not Forever, But For Now puts its similarities to the HBO drama front and center as two siblings, Otto and Cecil, compete to take over the “family business,” which just so happens to be decades’ worth of murders and sex crimes. Succession’s series finale only aired a few months ago, but rampant parodies and pastiches of this prestige program persist. That being said, it’s still a fascinating look into one of the most fearless minds in fiction. It’s a bold, brutal experiment that may be too much for some of Palahniuk’s most seasoned readers. Not Forever, But For Now is deeply in the pocket and Palahniuk at his most ruthless and unrepentant. 2007’s Rant might be Palahniuk’s last great novel, while there’s still plenty to appreciate in his works across the last decade.
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Palahniuk’s ability to get under society’s skin through pitch black parody and commentary on hidden subcultures has sustained a rich career that can be very hit or miss, but is at least always odd and interesting. They only wish to be preyed upon by someone who will do the job properly.”Ĭhuck Palahniuk has been a top voice in subversive, satirical storytelling since the late ’90s through generation-defining texts like Fight Club, Invisible Monsters, and Choke. “It doesn’t matter so much who does what. Chuck Palahniuk’s latest meditation on the haves and have-nots struggles to take a promising premise beyond surface-level shock value.
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