Taipei (Vintage Contemporaries)

3,29 valoración promedio
( 4.756 valoraciones por Goodreads )
9780307950178: Taipei (Vintage Contemporaries)

Book by Lin Tao

"Sinopsis" puede pertenecer a otra edición de este libro.

Críticas:

"[A] deadpan literary trickster."--"The New York Times
"
"Tao Lin writes from moods that less radical writers would let pass - from laziness, from vacancy, from boredom. And it turns out that his report from these places is moving and necessary, not to mention frequently hilarious." --Miranda July

"Lin captures certain qualities of contemporary life better than many writers in part because he dispenses with so much that is expected of current fiction." --"London Review of Books"

"[D]eeply smart, funny, and heads-over-heels dedicated."--"New York" Magazine

"Do you read Tao Lin and think 'I love this! What is it?' Perhaps it is the curious effect of a radically talented, fecund and tender mind setting down a world sans sense or consequence." --Lore Segal, author of "Shakespeare's Kitchen"

"Tao Lin is the most distinctive young writer I've come upon in a long time: the most intrepid, the funniest, the strangest. He's a new voice, and the pleasure of reading his work is a new kind of pleasure." --Brian Morton, author of "Starting Out in the Evening"

"[Tao Lin's] relentless, near-autistic focus on the surfaces of social interaction belongs to a literary lineage that includes not just the frequently cited Bret Easton Ellis but also Alain Robbe-Grillet, Rudy Wurlitzer, and Dennis Cooper." --The Village Voice

"With "Taipei "Tao Lin becomes the most interesting prose stylist of his generation." --Bret Easton Ellis
"Tao Lin has made a distinctive career out of sticking to his guns, his guns being the ultra-high-res self-consciousness that characterizes our lives but which we routinely ignore in our lives and in our art. In "Taipei" he is a constant microscope, examining a world of miniature gestures, tiny facial movements, hands in motion, shrugs, nods, twists, ticks, flicks and snaps, a world in which the barrage of information we take in moment by moment is simultaneously cataloged, interpreted, cross-referenced, recorded, and filed. "Taipei" is a paean to the minutely examined life, where what is examined is every twitch, flinch, jerk, spasm, tremor, and tic, every high-speed half-formed thought, everything that we routinely consider meaningless and inessential. Here all that is turned on its head and becomes central and predominate, fundamental to being. There is no mistaking that we live a new, ultra self-conscious life, skating on the surface of things while overlaying that surface with a facsimile of the "old life" in which traditional values retain their power and majesty. What is fascinating about Tao Lin's fiction is his willingness, nay, insistence, on sticking to the true life of the new century, as raw, flat, fatigued as it may be. In "Taipei" he follows an utterly modern creature through a semi-robotic life in America and Taiwan, limiting himself and his characters to reasonably accurate renderings of normal responses without the literary humanist overlay, that is to say, a world almost binary and without much in the way of conventional "emotion," the stuff of which storytelling has forever been made. Lin is a 21st century literary adventurer, willing to work with what he actually has rather than a simulacrum of what once was, or might have been. The result is a fascinating book, bone dry, repellant, painful, but relentlessly true to life. Stripped

"Tao Lin [is] an excellent writer of avant-garde fiction. His new novel is his most mature work, and follows a young New York writer to Taipei, where he must reconcile his family's roots with the haze of MDMA, texts and tweets that he's been living in. Mr. Lin has refined his deadpan prose style here into an icy, cynical, but ultimately thrilling and unique literary voice."--"New York Observer"
"With "Taipei "Tao Lin becomes the most interesting prose stylist of his generation." --Bret Easton Ellis
"Tao Lin has made a distinctive career out of sticking to his guns, his guns being the ultra-high-res self-consciousness that characterizes our lives but which we routinely ignore in our lives and in our art. In "Taipei" he is a constant microscope, examining a world of miniature gestures, tiny facial movements, hands in motion, shrugs, nods, twists, ticks, flicks and snaps, a world in which the barrage of information we take in moment by moment is simultaneously cataloged, interpreted, cross-referenced, recorded, and filed. "Taipei" is a paean to the minutely examined life, where what is examined is every twitch, flinch, jerk, spasm, tremor, and tic, every high-speed half-formed thought, everything that we routinely consider meaningless and inessential. Here all that is turned on its head and becomes central and predominate, fundamental to being. There is no mistaking that we live a new, ultra self-conscious life, skating on the surface of things while overlaying that surface with a facsimile of the "old life" in which traditional values retain their power and majesty. What is fascinating about Tao Lin's fiction is his willingness, nay, insistence, on sticking to the true life of the new century, as raw, flat, fatigued as it may be. In "Taipei" he follows an utterly modern creature through a semi-robotic life in America and Taiwan, limiting himself and his characters to reasonably accurate renderings of normal responses without the literary humanist ove

""Taipei" mashes up the literatures of intoxication (a la Irvine Welsh) and ennui (a la Bret Easton Ellis) to produce a surprisingly clearheaded cautionary tale about a drug-loving young Taiwanese-American art-and-book-world scenester trying to navigate the more consequential realms of family, romance, and adulthood."--"ELLE
"
"Tao Lin [is] an excellent writer of avant-garde fiction. His new novel is his most mature work, and follows a young New York writer to Taipei, where he must reconcile his family's roots with the haze of MDMA, texts and tweets that he's been living in. Mr. Lin has refined his deadpan prose style here into an icy, cynical, but ultimately thrilling and unique literary voice."--"New York Observer"
"With "Taipei "Tao Lin becomes the most interesting prose stylist of his generation." --Bret Easton Ellis
"Tao Lin has made a distinctive career out of sticking to his guns, his guns being the ultra-high-res self-consciousness that characterizes our lives but which we routinely ignore in our lives and in our art. In "Taipei" he is a constant microscope, examining a world of miniature gestures, tiny facial movements, hands in motion, shrugs, nods, twists, ticks, flicks and snaps, a world in which the barrage of information we take in moment by moment is simultaneously cataloged, interpreted, cross-referenced, recorded, and filed. "Taipei" is a paean to the minutely examined life, where what is examined is every twitch, flinch, jerk, spasm, tremor, and tic, every high-speed half-formed thought, everything that we routinely consider meaningless and inessential. Here all that is turned on its head and becomes central and predominate, fundamental to being. There is no mistaking that we live a new, ultra self-conscious life, skating on the surface of things while overlaying that surface with a facsimile of the "old life" in which traditional values retain their power and majesty. What is fascinating about Tao Lin's fiction is his willi

"""[A] modernist masterpiece. . . . True, his characters are young people living in Brooklyn. And he writes about the Internet. But we should stop calling Tao Lin the voice of his generation." Taipei," his new novel, has less to do with his generation than with the literary tradition of Knut Hamsun, Ernest Hemingway, and Robert Musil. . . . It's a new style for Mr. Lin, one that confesses the urgency of his ambition. If you thought his previous novels were stunts, read this one. . . .""It's not exactly what I expected from Tao Lin's masterpiece. Which reminds me why I hadn't necessarily expected there to be one."--Benjamin Lytal, " The New York Observer
""Mr. Lin casts a spell in "Taipei." . . . [It] is his""strongest book. At its best, it has distant echoes of early Hemingway, as filtered through Twitter and Klonopin: it's terse, neutral, composed of small and often intricate gestures. . . . Two things move "Taipei "beyond being merely a drug-sodden and lightly journalistic novel about how New York's 21st-century literary set flowers now. One is Mr. Lin's deftness with what I'll call emotional close-up work . . . it's about flickers of perception, flickers that the author catches as if they were fireflies. . . . This fluid novel also posits that the online world is more addictive, more mind-bending and perhaps more destructive than anything you will find in a pharmacy or buy from a dealer. Almost all of this novel's metaphors and similes emerge from the author's experience of the Internet and his sense of the way it is colonizing consciousness. . . . "Taipei" can be so desultory that you think: this is an approximation of how Lou Reed must have felt during the entirety of 1972. At the same time, it's possible to imagine "Taipei "as a future Danny Boyle movie. . . . Mr. Lin's prose has been compared to that of Bret Easton Ellis's deadpan early work. . . . But there's also a hint of Ann Beattie in Mr. Lin, a hint I hope he will be able to cultivate."--Dwig

A "New York Times Book Review" Editor's Choice

"""[A] modernist masterpiece. . . . True, his characters are young people living in Brooklyn. And he writes about the Internet. But we should stop calling Tao Lin the voice of his generation." Taipei", his new novel, has less to do with his generation than with the literary tradition of Knut Hamsun, Ernest Hemingway, and Robert Musil."--Benjamin Lytal, " New York Observer"

"""Here we have a serious, first-rate novelist putting all his skills to work."--Clancy Martin, "New York Times Book Review"

"Mr. Lin casts a spell in "Taipei". . . . [It is] his" "strongest book. At its best, it has distant echoes of early Hemingway, as filtered through Twitter and Klonopin: it's terse, neutral, composed of small and often intricate gestures. . . . it's about flickers of perception, flickers that the author catches as if they were fireflies."--Dwight Garner, "New York Times
"
"Amazing. . . . He's actually the best writer about what it's like to be f*cked up on drugs that I've ever read.""--"John Horgan, author of "The End of Science""
"
"The most moving depiction of the way we live now. . . . unutterably moving.""--"Michael Silverblatt, "KCRW's Bookworm"

"One thing I like about Tao's writing is how beside the point for me 'liking' it feels -- it's a frank depiction of the rhythm of a contemporary consciousness or lack of consciousness and so it has a power that bypasses those questions of taste entirely. Like it or not, it has the force of the real."--Ben Lerner, author of "Leaving the Atocha Station"
" "
"[A] novel about disaffection that's oddly affecting. . . . for all its emotional reality, "Taipei" is a book without an ounce of self-pity, melodrama, or posturing."--"Publishers Weekly", starred review

A "New York Times Book Review" Editor's Choice
"""[A] modernist masterpiece. . . . True, his characters are young people living in Brooklyn. And he writes about the Internet. But we should stop calling Tao Lin the voice of his generation." Taipei," his new novel, has less to do with his generation than with the literary tradition of Knut Hamsun, Ernest Hemingway, and Robert Musil."--Benjamin Lytal, " New York Observer"
"""Here we have a serious, first-rate novelist putting all his skills to work."--Clancy Martin, "New York Times Book Review"
"Mr. Lin casts a spell in "Taipei." . . . [It is] his" "strongest book. At its best, it has distant echoes of early Hemingway, as filtered through Twitter and Klonopin: it's terse, neutral, composed of small and often intricate gestures. . . . it's about flickers of perception, flickers that the author catches as if they were fireflies."--Dwight Garner, "New York Times
"
"Amazing. . . . He's actually the best writer about what it's like to be f*cked up on drugs that I've ever read.""--"John Horgan, author of "The End of Science""
"
"The most moving depiction of the way we live now. . . . unutterably moving.""--"Michael Silverblatt, "KCRW's Bookworm"
"One thing I like about Tao's writing is how beside the point for me 'liking' it feels -- it's a frank depiction of the rhythm of a contemporary consciousness or lack of consciousness and so it has a power that bypasses those questions of taste entirely. Like it or not, it has the force of the real."--Ben Lerner, author of "Leaving the Atocha Station"
" "
"[A] novel about disaffection that's oddly affecting. . . . for all its emotional reality, "Taipei" is a book without an ounce of self-pity, melodrama, or posturing."--"Publishers Weekly," starred review

A "New York Times Book Review" Editor s Choice
" "[A] modernist masterpiece. . . . True, his characters are young people living in Brooklyn. And he writes about the Internet. But we should stop calling Tao Lin the voice of his generation."Taipei," his new novel, has less to do with his generation than with the literary tradition of Knut Hamsun, Ernest Hemingway, and Robert Musil. Benjamin Lytal, "New York Observer"
" "Here we have a serious, first-rate novelist putting all his skills to work. Clancy Martin, "New York Times Book Review"
Mr. Lin casts a spell in"Taipei." . . .[It is] his""strongest book. At its best, it has distant echoes of early Hemingway, as filtered through Twitter and Klonopin: it s terse, neutral, composed of small and often intricate gestures. . . . it s about flickers of perception, flickers that the author catches as if they were fireflies. Dwight Garner, "New York Times
"
"Amazing. . . . He's actually the best writer about what it's like to be f*cked up on drugs that I've ever read."" "John Horgan, author of"The End of Science""
"
"The most moving depiction of the way we live now. . . . unutterably moving."" "Michael Silverblatt, "KCRW's Bookworm"
One thing I like about Tao's writing is how beside the point for me 'liking' it feels it's a frank depiction of the rhythm of a contemporary consciousness or lack of consciousness and so it has a power that bypasses those questions of taste entirely. Like it or not, it has the force of the real. Ben Lerner, author of"Leaving the Atocha Station"
""
[A] novel about disaffection that s oddly affecting. . . . for all its emotional reality, "Taipei"is a book without an ounce of self-pity, melodrama, or posturing. "Publishers Weekly," starred review"

A New York Times Book Review Editor s Choice
[A] modernist masterpiece. . . . True, his characters are young people living in Brooklyn. And he writes about the Internet. But we should stop calling Tao Lin the voice of his generation.Taipei, his new novel, has less to do with his generation than with the literary tradition of Knut Hamsun, Ernest Hemingway, and Robert Musil. Benjamin Lytal, New York Observer
Here we have a serious, first-rate novelist putting all his skills to work. Clancy Martin, New York Times Book Review
Mr. Lin casts a spell inTaipei. . . .[It is] hisst...

Reseña del editor:

A Slate Best Book of the Year
From one of this generation's most talked about andenigmatic writers comes a deeply personal, powerful, and moving novel about family, relationships, accelerating drug use, and the lingering possibility of death.
Taipei by Tao Lin is an ode--or lament--to the way we live now. Following Paul from New York, where he comically navigates Manhattan's art and literary scenes, to Taipei, Taiwan, where he confronts his family's roots, we see one relationship fail, while another is born on the internet and blooms into an unexpected wedding in Las Vegas. Along the way whether on all night drives up the East Coast, shoplifting excursions in the South, book readings on the West Coast, or ill advised grocery runs in Ohio movies are made with laptop cameras, massive amounts of drugs are ingested, and two young lovers come to learn what it means to share themselves completely. The result is a suspenseful meditation on memory, love, and what it means to be alive, young, and on the fringe in America, or anywhere else for that matter."

"Sobre este título" puede pertenecer a otra edición de este libro.

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