The ideas around them become increasingly paranoid. They grow as fictive spectres in the text. From the get-go there is miasmic talk of terrorists, but terrorists never appear. Both react to it in different ways but it is clear from Lin’s narrative, that the author knows something is not right in the west.
#Tao lin writer full#
They are vaguely aware that something is deeply wrong in the world that time has forced them to inhabit, and that they are not getting the full picture. This story, collected in the most recent Granta book of US short stories, describes a couple, Garret and Kristy, living in an allegorical version of the United States. His next novel will be called Leave Society. For example, he seems to have spent the last five or six years quietly, and sincerely, plotting a way to escape the frightening merry-go-round of hyper capitalism. Lin, I think is deeply moral, deeply political. But Lin sees the inside and outside of a mode that Ellis operates entirely within. Both seem to be considered by some as arch ironists, operating in a zone outside of political conviction.
What is true of the zeitgeisty US author who preceded him and to whom Lin is sometimes compared – Brett Easton Ellis – is not true of Lin. I believe that Tao Lin is sometimes misread and held up as an example of that which he interrogates in his fiction.
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