—Danielle Dutton, The Guardian
“Setting out from her black household in Philadelphia to find her deadbeat Jewish father in New York, [Oreo] proceeds through one of the funniest journeys ever, amid a whirlwind of wisecracks in a churning mix of Yiddish, black vernacular, and every sort of English.”
—Paul Auster, NY Times
What a rollicking little masterpiece this book is, truly one of the most delightful, hilarious, intelligent novels I’ve stumbled across in recent years, a wholly original work written in a wonderful mashed-up language that mixes high academic prose, black slang and Yiddish to great effect. I must have laughed out loud a hundred times, and it’s a short book, just over 200 pages, which averages out to one booming gut-laugh every other page.
—Women’s Review of Books
The brilliant, hilarious, multilingual, brash, tender, bawdy, and unsentimental voice of Ross’s heroine equals the rare and outrageous voice of Ross herself.
Readers who enjoy play-on-words and post-modern novels will love this book.
—John Warner, Chicago Tribune
Think: Thomas Pynchon meets Don Quixote, mixed with a crack joke crafter. I’m not sure I’ve ever admired a book’s inventiveness and soul more.
A ground-breaking satire.
—Danielle Deavens, Essence Magazine
—Patrik Henry Bass, NY1
Fran Ross’ voice and bravado threads this inexhaustibly inventive first novel. The author, who died at age 50 in 1985, didn’t release another novel. Still, we can delight in the masterpiece that she created that is just as urgent now as was it was then, if not more so.
—Dwight Garner, The New York Times
Oreo has snap and whimsy to burn. It’s a nonstop outbound flight to a certain kind of readerly bliss. It may have been first published more than 40 years ago, but its time is now.
—Kirkus Reviews (starred review)
A brilliant and biting satire, a feminist picaresque, absurd, unsettling, and hilarious … Ross’ novel, with its Joycean language games and keen social critique, is as playful as it is profound. Criminally overlooked. A knockout.