“[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

“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