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Taipei (Vintage Contemporaries), by Tao Lin
Get Free Ebook Taipei (Vintage Contemporaries), by Tao Lin
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Amazon.com Review
Guest Review of Taipei, by Tao LinBy Charles Yu Charles Yu is the author of How to Live Safely in a Science Fictional Universe, which was named one of the best books of the year by Time magazine. He received the National Book Foundation’s 5 Under 35 Award for his story collection Third Class Superhero, and was a finalist for the PEN Center USA Literary Award. His work has been published in The New York Times, Playboy, and Slate, among other periodicals. Yu lives in Los Angeles with his wife, Michelle, and their two children. What does it feel like to be alive? It's an inquiry central to many novels, either explicitly or implicitly, and it has been explored in so many ways, in so many variations and permutations, that it's remarkable when someone finds a new way of asking the question. With Taipei, Tao Lin has managed to do just that. The novel's protagonist, Paul, is a twenty-something writer living in New York City who has at least two extraordinary capabilities: (1) a terrifyingly high tolerance for pharmacological substances, and (2) a prodigious ability to record and recount the moment-to-moment flow of micro-impressions and fleeting sensations of his awareness. While Lin may not be the first writer to combine these two elements in the form of a novel, he is the first one to synthesize them in this particular way, and it is the tension and interaction of these things that make Taipei such a compelling read. What does it feel like to be alive? Weird. Really weird. That's something very easy to forget - we have an ability to acclimate quickly to our own ambient mental environment. For similar reasons, the fundamental strangeness of being alive is also very hard to articulate. What Tao Lin does is to slow everything down, paying very close attention to everything, registering his findings. The noise and bustle and all-night lights of the big city, first New York City, and then Taipei, the blur of pills and parties and people's faces are presented not as an impressionistic smear, but in careful, deliberate language, prose so precise it cannot be anything but excruciatingly honest. At times, Taipei feels like an experiment, a study on how to use (and abuse) your brain, with Paul communicating in a way that almost feels scientific - he's a scientist studying the strange thing called his self, or an alien who experiences human consciousness as if he were test-driving a brand new technology. It is this detachment which allows Lin to render, in a very pure, very visceral way, what the fringe feels like, a displacement or distance from the center, from your own heart, the psychological impossibility of going to some real or imagined home. Taipei renders all of this with a brute and direct force, and I admit at times that force caused me to flinch. This kind of experience is why I read, though - to be challenged, to be confronted, to experience something completely familiar that has been made entirely new.
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From Booklist
This novel follows Paul, a young, Brooklyn-based author, as his drug addiction spirals out of control. Though he experiments at first in the name of artistic expression, Paul becomes consumed by apathy, tripping during interviews and drifting out of touch with old friends. He meets and marries Erin, a fellow artist drug user, and they move to Taipei, Taiwan, where they become performance artists, videotaping themselves while on drugs in public. As their relationship breaks down, Paul nearly overdoses and is finally thankful to be alive. The characters are visibly suffering from loneliness, desperately wounded self-esteem, and an aimlessness that leads them to wander from poetry reading to movie theater to party to party, making the briefest and shallowest of encounters with those around them. Tao Lin’s writing style is definitively unique and mirrors the shifting reality his drugged characters perceive when submerged in their daze. At times, however, it is a haze too thick for the unencumbered reader to peer through. --Sarah Grant
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Product details
Series: Vintage Contemporaries
Paperback: 256 pages
Publisher: Vintage; First Edition edition (June 4, 2013)
Language: English
ISBN-10: 0307950174
ISBN-13: 978-0307950178
Product Dimensions:
5.2 x 0.8 x 8 inches
Shipping Weight: 8.8 ounces (View shipping rates and policies)
Average Customer Review:
3.2 out of 5 stars
109 customer reviews
Amazon Best Sellers Rank:
#296,336 in Books (See Top 100 in Books)
This could easily be 5 stars, I'll reread at some point.. it is I think very difficult to argue that it isn't at least innovative in it's style and approach to prose, I can also see why people felt it boring or self absorbed or whatever, it's certainly not "exciting" or "thrilling" in any conventional sense, the Brooklyn are Brooklyn references and it can occasionally feel like Tao is flattering himself recounting specifically audacious, incremental and ever increasing levels of drug use throughout, but it still feels painfully accurate and the originality of Tao's particular dead pan weaving and his ability to break down certain emotions, feelings (or lack of), and super ordinary situations is what really shines and makes this a dark, modern - if perhaps stilted, meandering tale still well worth excavating.Why not 5 stars?.. Well, the very particular brand of humor seems to wear itself thin at times, probably because it operates in such a dry and narrow vein with the limited dimensionality of the first person narration thru this character, which can be tiring, but that also is the intention and what conveys the character's consistently depressed and strung out narrative so well. So i guess I feel that however great I find the writing to be, the perspective of the narrator that we're forced to inhabit is just such that it can flatly feel like a labor at times, especially if you've moved on from the point in your life of having to deal with the weighted, monotonous, empty feeling one gets from certain drug use and or/ depression and aren't necessarily thrilled about wading back in, especially without the obvious benefits.Still Tao's originality of approach makes it all worthwhile and a even water mark of sorts in contemporary writing (ok maybe it's a 5..).
one of the best novels of the century, if you haven't heard.
Great condition thanks.
Paul, the "hero" of Tao Lin's novel, is a twentysomething writer who lives in Brooklyn. The "action" of the novel is Paul travelling to his book readings, visiting his parents in Taiwan, and hooking up with Erin, a woman he sort of loves and sort of doesn't.Paul also takes drugs, lots of drugs. Unlike the Beats, who took drugs to find ecstatic union with a friend or the universe, or the Hippies, who got high to get on the fast track to enlightenment, Paul has no grand rationalization for his massive ingestion of psychedelics, uppers and downers. All Paul and his friends seem to be reaching for is respite from some deep and nameless anxiety. Their drug use lacks the desperation of addiction, but it doesn't feel fun either. More like grim obligation, which is what reading about it finally feels like as well.Taipei provides a minutely detailed examination of a consciousness shaped more by the digital than the analog world. The novel has a flat, affectless, often convoluted prose style that poses interesting challenges to our assumptions about what constitutes art. We've put the tools of communication into Everyman's hands, but blogging, tweeting, posting, uploading, narrowcasting, etc is not the same as creating a polished artistic statement. Lin makes that point beautifully (maybe even intentionally) when Paul and Erin get high and go to a MacDonald's in Taipei, where they make a boring, inane, juvenile faux documentary with iMovie.There is a long, honorable history in the novel of writers diving deeply into a single consciousness to reveal truths about how we process the world around us. What makes this book such a slog at times is that Paul never engages the people and places around him in a meaningful way. If this novel was meant as a send up of Brooklyn hipsterdom, it should have been funnier. If it was meant to chronicle this iteration of lost twentysomethings, it should have more shading and social context. Instead we have a main character who is both self-absorbed and anhedonic, not a pretty combination. Paul's consciousness is like a dark star, collapsing endlessly inward, sucking in all the light around it.
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