The Studio Projects C1 has an excellent reputation.  It's especially good
for female vocals (singing), and adds a bit of "sweetness" to
the sound -- not a flat, accurate mike (nor do we always want
that for vocals!)

Another option, a little more versatile since it's flatter, is the
Studio Projects B3.

Both of these are large diaphram condenser mikes.  You need phantom
power to use them, and the Tascam has that.  (Most preamps or modern
small mixers will, but you have to make sure.)

Another option is the time-tested Shure SM-58, which you can get for
under $100, and less used.  Since they're practicaly bullet proof,
used ones are generally fine (although they may not sound just like
new ones, since each drop onto a hard floor can make a subtle change.)

If you want a cheaper option, the Shure SM-48 is also a very good mike.
I believe either of these mikes would sound great for spoken word.

For anyone who's serious about recording, it's best to have a quiver
of different mikes, because each kind sounds different, and you want
to match the mike to the voice.  It's also nice, when recording
multiple people or sounds, to use different mikes to avoid a build-up
of "sameness" that can color the end result.

Therefore, rather than spending $300 on one mike, I suggest $150 on
the B3 and then an SM-58 or SM48.  Not sure what the going price is 
on C1, but it's also one to consider.

BTW, the main difference between dynamic and condenser is the sound.
To choose mikes, it's best to use them for a while to find out what
they're good for.  Go to your local "pro shop" music store (ask a
musician friend) and rent some mikes -- they'll have standards like
SM57, SM58, and at least one option in small diaphram and large
diaphram condensors.  Tell 'em what you're up to, and mention
you're willing to rent, etc.  They should be able to help you
out.  It's worth paying the extra 10% or 20% for the convenience
and support.  But do a little research first and make sure you
know the on-line prices and types of mikes.

LD (large diaphram) condensers are big fat mikes that sit upright,
like those ones we see in old radio pictures.  They often sit in
a "spiderweb" shock mount to avoid noise from the floor.  Good
for voices, instruments, and ambient.  Very sensitive to subtleties,
which can be good or bad.

SD (small diaphram) condensers are usually small, short tubes.
Generally best for instruments or ambient sound.  Sensitive to
subtleties.

Dynamic mikes are usually (not always!) somewhat cone-shaped,
since they're often hand-held during performance.  They're
generally best for live use (vs. the others) because they tend
to feed back less -- not an issue here.  Ones with ball-heads
are intended for vocals -- that ball head is a built-in pop
filter.  Ones with a flat head are usually for instruments
since they don't have that pop filter, but can be used for
vocals by someone who knows how to "work a mike" or with an
external pop filter.  Less sensitive to subtleties, which can
be a good thing or a bad thing.

You may also want to investigate pop filters.  The most popular
version is an embroidery hoop with a nylon stocking stretched
across it, somehow attached to a gooseneck with a clamp for
attaching to a mike stand.  It's placed 2 inches or more from
the front of the mike, and not only helps keep pops out, but
also keeps an inexperienced vocalist from getting closer to
the mike than you want.

Another factor about mikes is the pattern -- whether they're
directional or not.  The main choices are:

omnidirectional -- picks up from all directions.  Omni mikes must
be used in a carefully treated recording situation (studio/room/etc.)

cardiod, also know as unidirectional -- picks up sound mostly
from one direction.  Important for live work because it helps
avoid feedback.  Usually has "proximity effect", see below.

Figure-8, which is useful for certain kinds of stereo recordings
("mid-side" recordings").

How close should you be to the mike?  Depends on the sound you want.
Many mikes (especially "cardioid" mikes) have a proximity effect,
boosting lower midrange as you get closer.  Because it makes us
sound more like we do in our own heads, many people (like me)
like to be right on top of a mike to get this sound.  Being
close to the mike (even without proximity effect) also adds to
the intimacy of the sound, because we hear more details of
articulation (yeah, saliva).

The room in which you record and how it's treated will have a
huge impact on the sound, even for simple spoken word work,
regardless of which type of mike you use (though it will be
most obvious with an omnidirectional LD condenser).