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‘Lionel Shriver is an original, by turns exuberantly comic, whimsical and cruel … The men – performers, compulsive talkers whose insistent self-revelation masks their emptiness – are wonderfully captured. This is a love story, and a surprisingly moving one. But Shriver’s edgy, accurate wit, her ear for rhetorical inflation and self-deception, and her refusal to be conned by personal or political platitudes expand her novel: its real subject is the seductiveness and sadness of Belfast itself’ Independent on Sunday

‘Shriver has obviously immersed herself deeply in Belfast life at the cellar-bar level … That Shriver is an uncommonly gifted writer is obvious even in the early pages. This is an unusual and impressive achievement’ Spectator

‘Shriver doesn’t rely on the glamour of violence or political intrigue for dramatic effect: she consciously shuns the hackneyed Romeo-and-Juliet yarn and the IRA-bomber-with-a-heart-of-gold cliché … The background details and dialogue ring very true to life; and the story is anchored in a recognisable Belfast. Shriver was able to infiltrate the local ethos and quickly assimilate its culture … Humour is a vital element in the novel. Shriver has a mischievous, hard-edged wit which borders on the cynical … The author’s indifferent comic perspective is best revealed in the novel’s “Glossary of Troublesome Terms.” Doubling as an often hilarious guide to Ulster politics and an astute mini-essay on the complicated nature of the situation, the glossary contains the kind of home truths which have eluded political analysts for decades’ Independent

‘If this is a love story, Lionel Shriver is no romantic, and the myths of the misty isle have failed to seduce her. She writes about self-destruction with all the muscular confidence of her leather-wearing heroine. Sentence after truthful sentence comes cruel, fresh and clever … As Ms Shriver observes, the last thing the civil war in Northern Ireland needs is another book. What a surprise then to find she has written a novel which is alight with perception, complexity, originality and, yes, laughter’ Daily Mail

‘Shrewdly caustic and unexpectedly moving … Ordinary Decent Criminals spares no one, offers no hope and – here’s the kicker – is bitingly funny … Wheelers and dealers, outspoken sentimentalists, dreamers and hoodlums all hope to profit from the violence; they would, in fact, be lost without it … Shriver is a gifted mimic. Born in North Carolina and educated in Columbia University, she’s gobbled Northern Ireland down and recreated it on the page with deceptive ease. At times, the book reads as if it were written exclusively for her Belfast co-residents. If Americans get it, that’s fine. If they don’t, it’s their loss … The bracing, acid wit and rich hyperbole are constant and a little terrifying. Who can be this cynical about horrors? Shriver can—and for a purpose. You may think she’s numbing you with her wisecracking nightmare when actually she’s leaving you all the more vulnerable to her final devastating plot twist. That’s the ultimate paradox in this feverish book. Ordinary Decent Criminals quivers with enticing energy, seduces you with its nervous amoral appeal’ Washington Post

‘One of the shrewdest, most disturbing pieces of fiction this place has thrown up in twenty years. Ordinary Decent Criminals reveals a considerable intellect at work in tandem with an acute ability to discern our deeper motivations. There is also a terrific sense of humour, sharp and sympathetic’ Belfast Ulster News Letter

‘[Shriver] says more about wee Ulster than dozens of other novelists before her put together. ‘Calcified with self-pity’ is one phrase that lingers’ Belfast Irish News

‘An uptight, acerbic thriller with no limits on intensity, and no concessions to sentimentality’ Belfast Fortnight

‘Here indeed is that rare bird – a novel set in Northern Ireland and written by an American which eschews the simplistic drawing of battlelines, which refuses to see the people of the North as merely Orange or Green, but as an assembly of ordinary decent sinners, and which portrays neither heroes nor martyrs … One of the most insistent themes in Ordinary Decent Criminals is that the people of the North are excited by their Troubles, and would die of boredom if they ended … Certainly Lionel Shriver is not bored by the Troubles, and no reader could be bored by this novel, enlivened by a sizzling ironic humour’ Dublin Sunday Tribune

‘Lionel Shriver being a young American who found her way to Belfast in 1987 to write a novel, chances were her book would be tinged either with Noraid naivety or the blood thirst of a war-zone junkie. But Ordinary Decent Criminals is neither; instead, it is an unflinching and bleakly comic novel that sees through the sloganeering of both sides while retaining a feel for the local colour, orange or green … This is a haunting tale, set against a background where to sit on the fence is to ride barbed wire’ Glasgow Herald

‘Shriver passes the accuracy test with very high marks.… The argot is accurate, and the fine detail of republican West Belfast and bourgeois South Belfast rings true. The author, moreover, has added richness by bravely including much local allusion which will only be appreciated locally … Shriver writes with great power’ Times Literary Supplement

‘Shriver knows her Belfast and her speckled politics, and yet, like her heroine, she has a salutary detachment. She too knows that there is a world elsewhere and has a deep-rooted suspicion that all the nonsense is not about republicanism or loyalism but about wish-fulfilment and the perpetuation of alternative systems of power … At one stage she makes Estrin say truthfully: ‘The last thing this place needs is another book.’ Yet if the place must be written about, I suppose a ‘jeer on both your houses’ is as good a stance as any’ Irish Independent

‘Any novel about the Northern Ireland troubles that opens in the Bushmills whiskey distillery has clearly got a useful perspective … American author Lionel Shriver maintains a keen sense of proportion between the fabric of the Troubles and the individual lives of her three-dimensional characters; in addition, she’s caught the flavour and the language of the city where she’s lived since ’87 with astonishing deftness, without either showiness or romanticism’ London City Limits

‘A big read that never flags and that I pursued with ever-increasing delight … Ms Shriver writes a bouncing, buoyant prose that carries one along as merrily as a band of roisterers hell-bent for glory. And she has beautifully caught that air of desperate wryness that people on the edge of danger are supposed to exhibit. Her novel is as life enhancing as an optimistic outlook or a good laugh. Buy it and see’ Irish Sunday Press

‘“All people know about Northern Ireland is what they see on television,” says Bill Rolston, lecturer at the University of Ulster and part-time pulp authority. “[Troubles] novels, apart from being truly awful, help to perpetuate that ignorance.” Rolston does however pick out a few acceptable popular fiction examples. Troubles by Naomi May merited inclusion, alongside Seamus Heaney, in The Rattle of the North. Also spared is Ordinary Decent Criminals by an American woman named Lionel Shriver’ Guardian

‘This is a streetwise book, inasmuch as Shriver, an outsider, pretends to an insider’s authority on the situation she portrays. That she carries it off as well as she does, particularly at the level of personal relationships, counts as an achievement’ Irish Press

‘This is an exceedingly powerful, inspired novel. Shriver is an American living in Belfast, the setting for her engrossing story. She brings to this benumbed and blighted city an outsider’s eye and ear … Shriver’s writing is outstandingly lucid and bright, with an original blend of American and Irish whimsical irony. Commanding both the sweep of Irish politics and the nuances of human relations, she draws a splendid map for getting nowhere’ U.S. Publisher’s Weekly

‘Ordinary Decent Criminals proposes an entire politics of paradox: people who fight for peace love to be at war. Estrin feathers nests in order to leave them. Farrell keeps himself intact for the pleasure of flirting with destruction. Only the author can triumph in such an arena, and Shriver does … Shriver’s prose, frequently gnomic and invariably unpitying, offers virtually none of those made-for-TV movie devices that neatly freeze-dry settings, heroes, subplots. Writing for the pleasure of her story, she allows the reader to fill in the lacunae there. And she rightly trusts herself to recreate a wide range of universes. In Female of the Species, she dealt with anthropologists studying African tribes; in Checker and The Derailleurs, with rock musicians in Astoria. Here she’s even bolder. Her Belfast is stripped of martyrologies, serving Estrin and Farrell as moonlit nights or certain Manhattan nightclubs do lovers in less ambitious, less convincing fiction’ New York Village Voice