Regular marked price: $14.95Discount Price: $10.17
Cost Savings: $4.78 (32%)Price fluctuation possible.
How soon does it ship: Normal ship time within one day
Shipping? Absolutely FREE if you qualify for Super Saver Shipping.
Type of bind: Paperback
Dewey Decimal Number: 813.54
EAN num: 9780679727897
ISBN number: 0679727892
Label: Vintage
Manufacturer: Vintage
Quantity: 1
Page Count: 352
Printing Date: June 10, 1990
Publishing house: Vintage
Release Date: June 10, 1990
Sale Popularity Level: 189865
Studio: Vintage
Other books you might be interested in perusing:
Editor's Notes and Comments:
Product Description:
Driven by his dream to write and stage an epic stage production of interwoven Chinese novelsWittman Ah Sing, a Chinese-American hippie in the late '60s.
User popularity level:
Rated by buyers 
-
I feel so sorry for anyone who has to read this. Granted, it was for a classroom assignment, and for my old lion of a professor who said, "Reading literature (humph!) is not about enjoyment; reading literature is about (humph!) suffering."
Oh, this is suffering, all right.
"Tripmaster" sums this book up perfectly. This entire book READS like an LCD trip. It is so saturated by so many adjectives, unexplained Chinese culture and myth, and literary in-jokes (Ah Bartleby! Ah humanity! Quick, where does that come from?!) that you feel as though you've just plowed into someone else's conversation by accident. Many lines don't seem to make any kind of sense at all (what is "In the tenderloin, depressed and unemployed" supposed to mean, anyway?). The prose is awkward at best, and confusing and irritating the rest of the time.
The greatest crime committed here is the characterization. I hated every single character; they were, without fail, unlikable, selfish, and pretentious. They all thought they were the most brilliant people ever born; Ms. Kingston seems to pat herself on the back every time she writes about them. They really all deserved to die. When Wittman sees a bomber in the sky I kept hoping it would accidentally release its payload upon him.
What could be a fascinating look at the 60s and Chinese culture turns out to be nothing less than literary masturbation. Every page I read, I could nearly hear Ms. Kingston saying, "Look at how much I know. My vocabulary is unparalleled! My knowledge of literature, a height untouchable! Look at how perfectly my book breaks the mold. Look at me. Look at me!"
Some difficult texts are worth poring over -- like, oh, Shakespeare, for instance. This piece of filth has no reward to offer you for your diligence. Avoid it for your sanity's sake.
Rated by buyers 
-
Kingston's book is the embodiment of post-modern conscience. As such, her writing is fragmented and at times the plot is unintelligible, obscured by intense imagery and rhetoric. The negative response to her work is thus understandable. However, the importance of Kingston's novel lies in its intensity, in its dense language and imagery, and in its ultimate unintelligibility. The lack of superficial structure and form, and the fragmentation of characters and occurences embody the external and internalized difficulties faced by Kingston's protagonist and the diasporic community as a whole, and likewise exemplifies the problems with and responses to diasporic literature. Overall, while obscure and difficult, Kingston's novel is an important feat (both for readers who complete the novel and for Kingston).
Rated by buyers -
Before I read this, I'd only read one other work by Maxine Hong Kingston--not a book, but a short essay. However, just reading that, it was very clear to me that Kingston is a superb writer with a clear, strong voice and a great ear for ambience and cultural innuendos. So I picked this book up.
The beginning of the book was simply stunning. The very first few paragraphs were a bit hard to read, being so disjointed and LSD-ish, but once I got over that... Just hearing Wittman Ah Sing neurotically spewing out observations and thoughts about the city and its inhabitants was a real eye-opener. I really got the feel of what it was like to be fifth-generation Chinese-American at that time, and that's no mean feat. Also, later on in the book, near the end, Wittman is raging about how Asian-American writers are all written off as "exotic" or "not quite as exotic as you'd expect." Written with painfully acute perception in masterful language, that section almost trembled with rage and furor at racial stereotypes and prejudices. Yeah, and Wittman kind of grew on me and despite his neuroticism, I came to like him as a character. Perhaps not fleshed out completely well, but still likeable.
That said, though, I can see why this was her very first novel. This book needs EDITING. The very first part of the book and the last part of the book are excellent. Moving. Perceptive. Real issues, thoughtfully delivered, perhaps without clear-cut answers but then again there are not clear-cut answers to issues of this kind. BUT! If I wanted an LSD trip, I would TAKE an LSD trip. Jesus Christ. The middle section of the book, a few hundred pages, is just pure dribble as Wittman crazily heaves himself here and there while pontificating about some-forgettable-something-or-other. Given how much I feel for the subject, stereotyping and racism, the fact that I COULDN'T get through those pages says a lot. The review a few numbers back is quite funny--the one about how "you idiots don't have enough training in postmodernism to appreciate it, and I do, blah blah blah." It seriously is. But hey--Mr. or Ms. Gloomy Literary Geek With Your Nose Stuck Up in the Air--not all bad writing can be defended by that "oh it's the undereducated reader's fault, blah blah" argument. If that were so, hell, anyone who can hold a pen and spell reasonably would be the subsequent Kundera. It's just like saying "We Lost 'Nam 'Cause You, the American Public, Didn't Support Us Enough!" Revisionist history, revisionist literary criticism. Blame and responsibility assigned on the wrong heads.
That said, though, I gave the book a four-star rating just because of the sheer force, lyricism and perceptiveness of the beginning and the end, around two hundred pages long.
I have a good mind to read Kingston's other books. If her very first book's this good, those others are bound to be great.
I just have to wonder--why WASN'T this edited? Surely, with her name value, she could have gotten hold of any number of good editors. It's sad to see such a great book laid to waste.
Rated by buyers 
-
I really do not want to write a bad review of Maxine Hong Kingston's work. Her "Woman Warrior" and "China Men" were wonderful. And she is a wonderful person. But that make me all the more disappointed with "Tripmaster Monkey."
I am quite familiar with post-modern novels, and I find Milan Kundera's roaming meanders and flying leaps a very pleasant read. So my reaction is not to post-modern style but rather to her application of that style.
There are so many layers upon heavy layers of self-indulgent baggage to plod through that reading the book became a nightmarish experience. I always try to read at least 100 pages of any book before abandoning it -- and I abandon books only very rarely. But after 68 pages of "Tripmaster Monkey", I simply could not go on, and I put it back on the shelf.
I may someday try it again. But I doubt it.
Rated by buyers 
-
It is hard to believe that "Tripmaster Monkey: His ... Book" is by the same author who wrote "The Woman Warrior." Maxine Hong Kingston's "Tripmaster Monkey" is her very first "novel" (though by no means her very first foray into fiction), and it is easy to see why there was a nine year gap between this book and "China Men." Kingston's novel, centring on a young, literary minded Chinese American man named Wittman Ah Sing, is meticulously researched and detailed, bringing to life the issues and fads of the mid-1960s Bay Area literary scene. Wittman, largely without an Chinese/Asian American literary tradition, has to overcome (white) racist assumptions of "the artist" in order to produce his truly American play without it being reduced to some "exotic" or "Oriental" exercise in Asianness. Despite the seriousness of Wittman's self- and community-driven mission to be taken seriously as an artist despite the racist assumptions that endeavor to stifle his creativity, the novel is extremely funny, witty and surreal. Wittman disturbs a girl he is infatuated with by proclaiming "I am really: the present-day USA incarnation of the King of the Monkeys." Wittman is fired from his department store job because he puts "an organ-grinder's monkey with cymbals attached to its hands" on ..., for customers (children) to see! Wittman's parents abandon his honorary grandmother PoPo high in the Sierra Nevada Mountains to die, and she is later rescued by a wealthy man who just happens to be seeking a wife! In many ways, Kingston's rendering of the surreal, "tripmaster" (mental and physical) wanderings of Wittman resemble the textual flow of the post-"Moby Dick" novels by Herman Melville. As with those later Melville novels, Kingston's own novel is often angry, but is also frightfully funny and filled with accurate observations of life, love and the role of art, religion, philosophy and national identity in society.
Find other books like this one:
