This paper examines the narrator’s contradictory resistance and the ensuing problem of distorted recognition in Christian Kracht’s novel Faserland from the perspective of recognition theory. In Faserland, the narrator’s resistance manifests itself through decadent and self-destructive forms such as alcohol, drugs, clubs, and parties, accompanied by confusion, provocation, and self-deception. Moreover, the narrator perceives others not as subjects of recognition but as objects of continuous negation, which results in the absence of empathy between the narrator and others, as well as the impossibility of recognition. In this respect, the reciprocity of empathy and recognition becomes distorted in a narrator-centered manner, while both the narrator and others are portrayed as reified beings. In other words, the narrator’s contradictory resistance and the distortion of recognition simultaneously indicate the discrepancy between, on the one hand, the perspectives of Honneth and Mead, who seek to explain an individual’s self-understanding and identity formation within the universality of social relations, and, on the other hand, the narrator’s attempt to form recognition and self-identity based on subjective experience and perspective. At the same time, it suggests the resistance of the younger generation, often referred to as the so-called pop-culture generation, as well as the complementary yet incongruous relationship between social and individual recognition inherent in it. In this context, the present paper aims to explore Christian Kracht’s Faserland from the standpoint of the narrator’s contradictory resistance and the duality and reciprocity of recognition.