A brilliant debut novel you have to read.” — Details
“[A] thoughtful miniaturist with an intuitive knack for the well-chosen detail....Taylor’s noble goal is to remind those of us long past our own difficult youths of the grace and beauty to be found even in a ‘bunch of drunkpunks in the armpit of Florida.’” — New York Times Book Review
“If Claire Messud’s The Emperor’s Children showed upper-class New Yorkers in the not-yet upended world before 9/11, this book does the same for the small-town anarchists, believers and the Burning Man-inclined.” — Los Angeles Times
“Once again, Taylor blends the competing heat of religious fervor, threatening politics, and nihilistic sex, yielding dangerous results.” — Oxford American
“Remember this name: Justin Taylor. You will hear it again. This young man, who was raised in South Florida, is an irrefutably talented writer. He is audacious, intelligently literate and fizzing with potential.” — Miami Herald
“Gospel is a beautifully written, insanely intelligent, and ultimately moving novel....You’ll be blown away by this book, re-reading it for years to come. ” — BlackBook
“Taylor is an undeniable talent with a contemporary voice that this new generation of skeptics has long awaited—a young champion of literature.” — New York Press
“For those of us not mired in strange sub-sub-culture squalor, it can be a disconcerting read at times, but its looming questions and cracked worldview are sure to stick around in your consciousness, relentlessly stalking a ground they won’t give up anytime soon.” — Nylon Magazine
“Taylor’s writing … is exceptionally good. Locally, the sentences are incisive and tumbling. But what’s even more powerful is the way those sentences accumulate into larger ideas.” — BookForum
“These days, all the cool kids write about pharmaceuticals and cognitive science. In his first novel, The Gospel of Anarchy , Justin Taylor makes his attempt to diagnose the mal du siècle by grappling with matters of faith.” — New York Observer
“As in his story collection, Everything Here Is the Best Thing Ever , Taylor has a natural sense for what makes intelligent young people tick and, occasionally, drop out.” — Time Out Chicago
“Taylor interweaves youthful dialogue with religious rhetoric, exploring what would happen if everyone did what was good for everyone, and the corporate world burned to the ground.” — Interview
“Provocative…Writing from various perspectives in a wholly captivating style, Taylor traces the delicate lines between freedom, spirituality, politics, and happiness, depicting a lifestyle both hopeful and flawed.” — Booklist
“Justin Taylor exposes the fine line between making life choices and living a deluded reality, deftly illustrating how taking things too far or too literally can distort their true meaning and intent.” — New York Journal of Books
“Taylor, a Brooklyn-based author raised in Florida, writes dreamy recollections of swampy youth” — Village Voice
“A cult emerges from a punk/hippie sanctuary in this mordant first novel….Taylor writes sex wonderfully well….[His] nimble analysis of these schisms recalls T.C. Boyle’s Drop City …” — Kirkus Reviews
“The Gospel of Anarchy is a beautiful, searching and sometimes brutally funny novel. Justin Taylor writes with fierce precision and perfect balance: the acts and pronouncements of his freegan utopianists may seem hilarious and deranged at times, but Taylor treats their yearning with the seriousness it deserves.” — Sam Lipsyte, author of The Ask
“A feverish, fearless writer, Justin Taylor delivers ‘blessed pleasure’ in translating the ‘baffling Christ babble’ in The Gospel of Anarchy , a novel whose shiftless characters, in search of completion and contentment, must wrestle with that prerequisite of faith: a willingness to believe in the unseen.” — Christine Schutt, author of All Souls , finalist for the 2009 Pulitzer Prize
“I’ve always thought that there was some really interesting narrative terrain in that weird intersection between freeganism and fundamentalism, and I’m glad to see Taylor got there before some schmuck wrecked it.” — Matthew Derby, author of Super Flat Times
“A new voice that readers—and writers too—might be seeking out for decades to come.” — New York Times Book Review
Once again, Taylor blends the competing heat of religious fervor, threatening politics, and nihilistic sex, yielding dangerous results.
If Claire Messud’s The Emperor’s Children showed upper-class New Yorkers in the not-yet upended world before 9/11, this book does the same for the small-town anarchists, believers and the Burning Man-inclined.
Remember this name: Justin Taylor. You will hear it again. This young man, who was raised in South Florida, is an irrefutably talented writer. He is audacious, intelligently literate and fizzing with potential.
Gospel is a beautifully written, insanely intelligent, and ultimately moving novel....You’ll be blown away by this book, re-reading it for years to come.
For those of us not mired in strange sub-sub-culture squalor, it can be a disconcerting read at times, but its looming questions and cracked worldview are sure to stick around in your consciousness, relentlessly stalking a ground they won’t give up anytime soon.
A brilliant debut novel you have to read.
[A] thoughtful miniaturist with an intuitive knack for the well-chosen detail....Taylor’s noble goal is to remind those of us long past our own difficult youths of the grace and beauty to be found even in a ‘bunch of drunkpunks in the armpit of Florida.’
New York Times Book Review
These days, all the cool kids write about pharmaceuticals and cognitive science. In his first novel, The Gospel of Anarchy , Justin Taylor makes his attempt to diagnose the mal du siècle by grappling with matters of faith.
Taylor is an undeniable talent with a contemporary voice that this new generation of skeptics has long awaited—a young champion of literature.
Taylor’s writing … is exceptionally good. Locally, the sentences are incisive and tumbling. But what’s even more powerful is the way those sentences accumulate into larger ideas.
Remember this name: Justin Taylor. You will hear it again. This young man, who was raised in South Florida, is an irrefutably talented writer. He is audacious, intelligently literate and fizzing with potential.
If Claire Messud’s The Emperor’s Children showed upper-class New Yorkers in the not-yet upended world before 9/11, this book does the same for the small-town anarchists, believers and the Burning Man-inclined.
Provocative…Writing from various perspectives in a wholly captivating style, Taylor traces the delicate lines between freedom, spirituality, politics, and happiness, depicting a lifestyle both hopeful and flawed.
Taylor, a Brooklyn-based author raised in Florida, writes dreamy recollections of swampy youth
As in his story collection, Everything Here Is the Best Thing Ever , Taylor has a natural sense for what makes intelligent young people tick and, occasionally, drop out.
Justin Taylor exposes the fine line between making life choices and living a deluded reality, deftly illustrating how taking things too far or too literally can distort their true meaning and intent.
New York Journal of Books
The Gospel of Anarchy is a beautiful, searching and sometimes brutally funny novel. Justin Taylor writes with fierce precision and perfect balance: the acts and pronouncements of his freegan utopianists may seem hilarious and deranged at times, but Taylor treats their yearning with the seriousness it deserves.
A feverish, fearless writer, Justin Taylor delivers ‘blessed pleasure’ in translating the ‘baffling Christ babble’ in The Gospel of Anarchy , a novel whose shiftless characters, in search of completion and contentment, must wrestle with that prerequisite of faith: a willingness to believe in the unseen.
Taylor interweaves youthful dialogue with religious rhetoric, exploring what would happen if everyone did what was good for everyone, and the corporate world burned to the ground.
I’ve always thought that there was some really interesting narrative terrain in that weird intersection between freeganism and fundamentalism, and I’m glad to see Taylor got there before some schmuck wrecked it.
Provocative…Writing from various perspectives in a wholly captivating style, Taylor traces the delicate lines between freedom, spirituality, politics, and happiness, depicting a lifestyle both hopeful and flawed.
A cult emerges from a punk/hippie sanctuary in this mordant first novel from the author of the story collectionEverything Here Is the Best Thing Ever (2010).
Like other college towns, Gainesville, Fla., is a haven for alternative lifestyles. David is slow to catch on, but in his junior year, everything changes for this liberal arts major. A relationship ends; he loses interest in his courses; he stays home masturbating before his laptop, then throws it in the tub in self-disgust. Salvation comes when he runs into two Dumpster divers, Thomas and Liz.He knows Thomas from their suburban Miami childhood. They take him back to Fishgut, their dilapidated house with its floating population of punks. There he meets Katy, and his emancipation is complete. He's dropped out. She's a generous earth-mother type, as willing to share her body with this newcomer as with her girlfriend Liz. (Taylor writes sex wonderfully well.) She's also a self-styled Anarchristian, happily blending anarchy and Christianity, unlike those uptight Catholic students at the church reception they attend for a goof (and for the free food). What really fires Katy up is her discovery of a notebook buried in their yard. It belonged to Parker, Fishgut's mysterious founder. Katy takes its religious and philosophical ramblings as the ultimate truth, the Gospel. David, now her ardent disciple, edits it with her into a pamphlet, perfect for the Millennium (the story is set in 1999). Not everyone is sold; Thomas, an atheist Jew, leaves Fishgut for the Battle of Seattle after maliciously inserting a line of bull into the Gospel. Taylor's nimble analysis of these schisms recalls T.C. Boyle'sDrop City , but he lacks Boyle's sense of direction. That might have taken us to Parker, who remains an enigma, while Katy's further development stalls. Excerpts from the Gospel serve as filler, and momentum drains away among a variety of voices.
Taylor nails The Scene, but at the expense of the story.
