“The Narrator” describes life in Heaven: everything is very white, and there are lots of beautiful angels. God tells the Narrator that each human is a sacred, unique snowflake. The Narrator suddenly says, “Liar.”
At first, we’re meant to think that the Narrator has died and gone to Heaven—but because this is a dark Chuck Palahniuk novel, that’s a lie. The idea that human beings are beautiful and unique is, ultimately, a fairy tale, at least according to “the Narrator.” The ambiguity of the chapter is whether the narrator is still the Narrator we’ve come to know, or whether, in trying to kill himself and hitting rock bottom, the Narrator has finally “become” Tyler. “The Narrator’s” rejection of the idea that humans are sacred and unique makes him sound a lot like Tyler.
“The Narrator” tells the truth: when he shot himself, the bullet tore through his cheek and out of his ear. The Narrator ends up in a mental hospital, and receives letters from Marla all the time. Sometimes, the Narrator gets a visit from hospital nurses or technicians, who say, “We miss you, Mr. Durden.” The visitors assure “Mr. Durden” that everything is going according to plan, and that they “look forward to getting you back.”
From the perspective of the space monkeys, the Narrator is Tyler Durden: the charismatic leader who sends them into danger. Based on the fact that the Narrator tried to kill himself (i.e., finally hit “rock bottom”), it’s possible that the Narrator has become Tyler; or rather, the Narrator doesn’t need an alter ego anymore because he’s finally embraced his aggressive masculinity and death drive. Assuming the Narrator gets out of the mental hospital, he seems to have the option of spending more time with Marla (who finally recognizes him as the Narrator, not Tyler) or returning to commanding the space monkeys (who recognize him as Tyler Durden). Because we don’t really know what has happened to the Narrator (whether he’s attained some kind of enlightenment, whether he’s merged with Tyler, whether he’s finally killed Tyler), we don’t know what he’ll do next. In the end, Palahniuk arguably writes himself into a corner, leaving it up to readers to decide whether the Narrator’s experiments with pain and violence have left him any wiser or more enlightened—and what the continued existence of Project Mayhem will mean for society at large. Palahniuk also never really expresses how much of Tyler’s ideology he himself endorses—he shows it as destructive and self-defeating, and has called the novel a “satire,” but he also portrays Tyler as a charismatic kind of masculine ideal, and still relentlessly mocks consumerist society and the supposed emasculation of modern men.