In this essay, I suggest that what the spectacle of violence in Fight Club obscures is its amorous politics; that is, a political stance based on love. Contrary to critics who tend to regard violence as primary in defining the political force of Fight Club, my contention is that the concept of love is germane to any ethico-political inquiry of the text, and I offer a reading that emphasizes the primacy of love in its formulation of an affirmative political stance. Drawing primarily from Lacanian psychoanalytic theory, I will make the case that Fight Club presents us with at least two potential modes of political subversion: the first based on desire (for the phallus), as dramatized by the relationship of the narrator (“Jack”) and Tyler (as well as the relationship among the other male characters), and the second based on love, as dramatized by the relationship of the Jack and Marla. I further suggest that the former offers a selective (that is, predominantly white and exclusively male) aesthetics of violence that is motivated by a need to enforce sexual difference while the latter offers love as a possible social adhesive that transcends the sexual divide; that is to say, an amorous politics.