“That wild time [of youth] is brilliantly conjured throughout Blue Ruin in flashback scenes that seem to pulsate with the roar of drunken parties and the thump of dance music. . . . We are instantly swept along by the laconic grace and psychological acuity of Mr. Kunzru’s writing and by the commotion he unleashes at will and to great effect. . . . Indeed, Mr. Kunzru has drawn a narrator so appealing that we forgive him almost anything. In a novel where little happens, at least on the surface, and where the making and selling of art is examined at length, Jay’s odyssey also broadens a narrative that might otherwise have become fatally introspective or, worse still, pretentious. But Mr. Kunzru’s satirical eye, keen wit and compassionate intelligence guard against any such slide. Blue Ruin may end with the fate of a valuable painting hanging in the balance and millions of dollars about to vanish with a single drunken gunshot. By then, however, we care as little as Jay does about the fate of objects. Mr. Kunzru has made his point.”
—Anna Mundow, The Wall Street Journal
“Blue Ruin is bracingly intelligent and often just plain beautiful. . . . The seamy, drug-crazed, millenarian atmosphere of the 90s British art world, with its intermingled idealism and cynicism, is brilliantly evoked . . . The use of artworks—a difficult trick in fiction—is especially impressive in Blue Ruin . . . [Blue Ruin is] a reminder that fiction, at its best, is a place to encounter new experiences and dwell in big ideas. Kunzru is known for ambitious novels that bring politics to rich, imaginative life; Blue Ruin shows him at the top of his game.”
— Sandra Newman, The Guardian
“Blue Ruin is a story about creative labor’s inevitable crash into politics, as well as the allure—and danger—of artistic monomania. . . . What ultimately distinguishes the novel is its searching quality, a greater open-endedness than [Kunzru’s White Tears or Red Pill]. . . . If the binaries Blue Ruin wrestles with—money versus art, action versus refusal—feel familiar, it’s because we are still so far from resolving them.”
—Jess Bergman, The New Republic
“Even as Blue Ruin delves into the past with Proustian specificity, it does not succumb to nostalgic cliche about a time when young artists could achieve success almost overnight. Rather, Kunzru focuses on how the lives of the three friends diverge. . . . Blue Ruin’s success stems from its uncompromising connection between the pains of the past and the decomposition of the present, without celebrating either. Through the simple story of a once-lauded artist becoming a delivery driver in an effort to push his career—and himself—to the limit, Kunzru creates a trajectory in which social tensions are rising, liberalism is disappearing and fascism is once more gathering momentum.”
—Ed Luker, Frieze
“Kunzru brings his singular mix of dread and intrigue to his latest fiction, an intricate tale of artistic creation, greed and exploitation set in upstate New York under the specter of Covid.”
—The New York Times Book Review
“A provocative portrait of a once-promising artist as a disillusioned man of a certain age.”
—TIME Magazine
“[Blue Ruin is a] sharp dissection of the oily inner workings of the art world, and a compelling portrait of one man’s desperate attempt to escape complicity in the capitalist machine. . . . [Kunzru’s] portrait of east London in the 1990s has real texture, grit and grunge rubbing up against the crude new money of the exploding art scene.”
—Lucy Scholes, Financial Times
“I read everything Hari Kunzru writes, for my highest pleasure and my deepest sustenance.”
—Rachel Kushner
“[Blue Ruin] promises to be harrowing and darkly funny. Kunzru has a knack for the nightmarish present, and few things feel more nightmarish than a forced confrontation with the past in the early stages of the pandemic.”
—Lit Hub, “Most Anticipated Books of 2024”
“Kunzru’s [Blue Ruin] is a triumph of beauty and a true ode to the artist.”
—Oprah Daily, “Most Anticipated Books of 2024”
“Kunzru takes on the excessive and rapacious tendencies of the art world in his dazzling latest . . . [Blue Ruin] is immensely satisfying.”
—Publishers Weekly, starred
“A lively, ever-intensifying story of race, immigration, work, and what it means to earn a living . . . [Blue Ruin is] a darkly ironic tale of two bubbles—an art world divorced from economic reality and a Covid era that segregated us from society . . . A dark, smart, provocative tale of the perils of art making.”
—Kirkus, starred
“Exquisite writing and keen insights into class tensions and creative dilemmas. Kunzru affirms that it’s always a good time to live an examined life, even during a pandemic.”
—Booklist, starred
“Brilliant . . . Coincidence is a dangerous narrative tool to mess around with, but Kunzru pulls it off in Blue Ruin thanks to the subtle characterizations and intricate layers with which he expands his premise. Buried resentments and jettisoned ambitions come to the fore as Kunzru explores themes of racism, opportunism and the inequities of privilege and hardship. The result is an exceptional work that finds new variations on the familiar chestnut that people aren’t always what they seem.”
—BookPage, starred
