Eeeee Eee Eeee: A Novel

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  3. David Haglund reviews ‘Richard Yates’ by Tao Lin · LRB 21 October
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Some quotes I liked:pg "Everyone is folding boxes. Feels like a David Lynch movie"pg. Everyone should be one person, who should then kill itself in hand to hand combat"pg. At home Andrew writes, "Sorry" on an envelope. Below that, "For Real. Sounds sarcastic. On another "Sincerely Sorry," moves the twenties. The alliteration is too commercial. Writes "Sorry.

Eeeee Eee Eeee

At least they are a pair. The twenties are in love. Andrew is jealous. Still, he wants to cause destruction to McDonalds. It would be good to subvert all these places. Mark put noodles in his mouth.


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He winked fast so only a few people would see. I feel like hes being ironic all the time. Mark did not respond. You have to be twice ironic on TV to be regular ironic in real life. So, if you're not ironic on TV you're negative ironic in real lie. That sounds good. Negative ironic.

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Sometimes a bear accidentally wished to have Sean Penn there. The bear would be watching TV.


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Thinking about the Pulitzer Prize. And go blank a little.

Sean Penn would fight the bear when it got there. The bear would think, "Oh god, oh my god. When their heads weren't on top they still felt top-heavy, but metaphysically. In public places they felt sad. They went into restrooms, hugged themselves, and quietly went "Eeee eee eeee. They sat in the top of slides-the enclosed part, where it glowed a little because of the colored plastic-and felt very alert and awake but also very sad and immature Life was too sad and it was beautiful to really feel it for once; to be allowed to feel it for one year.

Don't leave, it said, and gave you a vegan cookie. It avoided eye contact, but touched your knee sometimes.

David Haglund reviews ‘Richard Yates’ by Tao Lin · LRB 21 October

It was the world without right or wrong. It didn't have any meaning. It just wanted a little meaning. It forces you to analyze the legitimacy of your own logic after perceiving the world through the character's existential crises. Lin's writing style is minimalist with laser-like precision. As great a premise that it reads on the back of the book, it is nothing like it.

I was kind of hoping for more of a straight-forward narrative, but boy, did I get something else!

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It is quite interesting, Lin's prose style, which is absolutely absurd, funny, and exploding with energy. A post-modernists teeth sinker, reminds me sometimes of Kathy Acker, but it tends to drag after a while with redundancy and a lack of point, or if there is a point, so buried in the narrative that I could care less.

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I guess Lin will be one of those "love or hate" authors for people. He highlights seams between moral longing, analysis, and actual lived moral practice, between the neat frame and symmetry of literature and the mess of lived reality. He pushes these issues to the point of paradox: moral action is contradictory, if not impossible. The text is at once resolutely earnest and sarcastic in its dismissal of earnestness, committed to moral ideals and ironic in the invocation of such empty and dated concepts.

He winked fast, so only a few people would see. Mark did not respond. You have to be twice ironic on TV to be regular ironic in real life.

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He highlights seams between moral longing, analysis, and actual lived moral practice, between the neat frame and symmetry of literature and the mess of lived reality. He pushes these issues to the point of paradox: moral action is contradictory, if not impossible. The text is at once resolutely earnest and sarcastic in its dismissal of earnestness, committed to moral ideals and ironic in the invocation of such empty and dated concepts. He winked fast, so only a few people would see. Mark did not respond. You have to be twice ironic on TV to be regular ironic in real life.