Book Nook | Richard Yates impresses with simple prose

Novelist Tao Lin has developed a rather peculiar reputation for himself. For one, he advocates shoplifting from large corporations, as is evidenced by the title of his breakthrough work, Shoplifting from American Apparel. For another, he recently gave a public reading while under the influence of psilocybin mushrooms, and he is currently working on a pretty self-explanatory project titled "MDMA Films."

Lin's writing style is equally unique. His prose often includes transcripts of Gmail chats and text message conversations: he's known for his distinctive minimalism, which, in his latest novel, Richard Yates, is taken to an extreme. The novel, which is largely autobiographical, centers on the relationship between a 22-year-old man and a 16-year-old woman. The woman, Dakota Fanning, is a high-school student in suburban New Jersey. She is imaginative and kind, but also emotionally troubled; she struggles with an eating disorder, depression and even suicidal thoughts. The male character, Haley Joel Osment, is a writer from Manhattan, and he too is flawed. He's socially uncomfortable and at times borderline emotionally abusive with Dakota. Their relationship begins online, but then quickly continues as the two meet in person. Together, they people-watch, shoplift, make silly art work, have sex and talk, all while avoiding Fanning's worried mother.

The novel is emotionally and intellectually restrained. There is no abstract reflection, only the cold, concrete description of the story. Intense moments and boring ones are described in the same, detached tone. The narrator is seemingly indifferent to the content of his narration.

Richard Yates is made up almost entirely of two elements. One, dialogue between the two main characters. And two, description of the physical actions that the two main characters take. It's devoid of any commentary, response, or speculation.

This narrative technique may seem shallow, but it is oddly effective in Richard Yates. It works for a couple of reasons. For one, the two main characters are well developed. They are honest, nuanced and flawed in a way that renders them quite convincing. Perhaps this is because Lin took the characters directly out of his own life, so he had two very genuine personalities to work with.

But more importantly, Lin's style is effective because he is very good at hinting at meaning. Throughout the novel Lin chooses dialogue and details that are penetrating on a sort of gut level; there were instances in the story where I found myself genuinely sad, or felt a rush of warmth hit my face, or felt my heart beating faster—yet I often wasn't quite sure why I felt that way, and had to take a moment to think about it. Due to his minimalist style, Lin doesn't provide any explicit emotional or intellectual judgments about the story, but he does provide us with the tools necessary to make these judgments for ourselves. Ultimately, as readers of Richard Yates we make our own meaning, and in doing so we experience it in a unique and intimate way.

For instance, the novel ends with the following lines: "Haley Joel Osment looked in her direction without focusing on her face. He touched her shoulder a little and left the car. He jumped over a puddle and went in the restaurant."

Out of context, this ending is just three simple declarative sentences. There is no pretty dénouement, and the narrator does not dwell on the moment. These sentences seem as if they could just as easily be found in the middle of the story. Indeed, the ending seems to mean so little that by transcribing it here I haven't actually given away anything. However, in context, these three sentences contain a world of meaning about the couple's relationship and future. As tepid as these sentences appear to be, they are in fact quite moving and strong.

And that's how the entire novel is. If you turn to a random page without reading what precedes it, the contents of that page may seem shallow, and the writing may even seem bad. This is because the novel isn't a collection of thoughts or morals; Lin isn't trying to impress you with his literary prowess or insight.

Despite his questionable media persona, Lin has produced in Richard Yates a genuine, old-fashioned love story—he's just done it in a new way. I urge you not to dismiss the novel because of its author's reputation or because of its unusual style. If you read the story faithfully, you can get a whole lot out of it.

Of course, it's not for everyone. Since Richard Yates is about two young people living and communicating in a very modern way, I would say that the novel is more tailored to late teens and twenty somethings, and I would guess that older readers would find less to sympathize with. Also, some readers are bound to be put off by the detached cynicism with which Lin's characters view their culture. This detachment is severe enough that it has led critics to question whether or not the novel is actually in any way constructive or redemptive, as literature supposedly should be.

Still, I found Richard Yates to be worthwhile. It is an engaging and at times even hypnotizing novel. And it does read quickly—partly because the prose is straightforward, and partly because the novel is only 200 pages—but in that short amount of time Lin does manage to move the reader in a very original way. 4 Stars!