“Brilliant and hilarious”
—Viet Thanh Nguyen, Pulitzer Prize-winning author of The Sympathizer
“An extraordinary book by an immensely talented writer”
—Emily St. John Mandel, National Book Award finalist and author of The Glass Hotel
Named a Most Anticipated Book by: Entertainment Weekly, Time Magazine, The A.V. Club, Lit Hub, Woman’s Day, The Rumpus, Thrillist, and more.
“One of the funniest books of the year has arrived, a delicious, ambitious Hollywood satire.”
—The Washington Post
“Interior Chinatown … recalls the humorous and heartfelt short stories of George Saunders, the metafictional high jinks of Mark Leyner and films like ‘The Truman Show.’”
—Adam Sternbergh, The New York Times
“Incisively examines the Asian-American reality of “being perpetual foreigners” in the United States, a minority whose story “will never fit into Black and White.”
—The New Yorker
“Interior Chinatown solders together mordant wit and melancholic whimsy to produce a moving exploration of race and assimilation that shouldn’t be missed by intellectually adventurous readers.”
—Anita Felicelli, San Francisco Chronicle
ABOUT CHARLES YU
“I don’t know if there’s a better story-bending talent at work than Charles Yu, since the rise of George Saunders.”
–Alan Cheuse, NPR
“Yu is a superhero of rendering human consciousness and emotion in the language of engineering and science.”
—The New York Times Book Review
“Yu’s workmanlike sentences are unexpectedly emotive, while also being almost always very funny. He is a master of the slow reveal.”
—The Boston Globe
“What Yu does very well–it is a long list, but this may be its most notable entry– is to create strange and disturbingly normal alternate realities. As readers, we are the better for Yu’s astonishing mix of wild imagination and meticulous restraint.”
—The Los Angeles Review of Books
“There’s some of the cerebral gamesmanship of Jonathan Lethem, the resigned sadness of Kurt Vonnegut, the Phil Dickian paranoiac mistrust of consumer culture. But Yu’s voice, sensibility, and approach are unique, especially in the ways he wrings humor and pathos from stripped-down syntax and seemingly passive protagonists.”
—San Francisco Chronicle
