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 . . . 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

I’m usually very slow to come around to things . . . but I couldn’t believe Fran Ross’s hilarious 1974 novel Oreo hadn’t been on my cultural radar

Wild, satirical and pathbreaking . . . flat-out fearless and funny and sexy and sublime . . . a nonstop outbound flight to a certain kind of readerly bliss. It may have been first published more than forty years ago, but its time is now

Brilliant

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

Its satire on racial identity reads like a story for our times . . . Could Oreo be this year’s Stoner?

In an alternative world she should have been one of the great American satirists . . . Ross never came across a subject she wouldn’t laugh at . . . hilarious

I laughed out loud many times while reading Fran Ross’s brilliant 1974 novel, Oreo . . . a tour de force retelling of the Theseus myth. Our half black, half Jewish feminist super-heroine is an invigorating mixture of street smarts, linguisitc acrobatics and erudition

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 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

Funny, brilliant and whip-smart, Oreo is a modern parody of the myth of Theseus in the shape of a memorable self-discovery story filled with 70s pop culture

Oreo sings with linguistic inventiveness, subverting and sidestepping the tropes that would have been expected of an African-American novel of the 1970s. It’s also hilarious, Ross seemingly loath to let a paragraph slip by without adding a joke. Oreo marks the emergence of an original and singular voice who, sadly, never wrote another book

The brilliant, hilarious, multilingual, brash, tender, bawdy, and unsentimental voice of Ross’s heroine equals the rare and outrageous voice of Ross herself

With its mix of vernacular dialects, bilingual and ethnic humor, aside jokes, neologisms, verbal quirks, and linguistic oddities, Ross’s novel dazzles . . .

Oreo is one of the funniest books I’ve ever read. To convey Oreo’s humor effectively, I would have to use the comedic graphs, menus, and quizzes Ross uses in the novel. So instead, I just settle for, ‘You have to read this’

Readers who enjoy play-on-words and post-modern novels will love this book

A ground-breaking satire

Hilariously offbeat

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

Boisterous, frisky and dazzlingly clever. An absolute gem

Now published in Britain for first time, Oreo‘s satire on racial identity reads like a story for our times. “Oreo” is Christine, the daughter of a black mother who leaves home in search of her estranged Jewish father. “Christine is a black woman on a mission to find her whiteness,” writes Marlon James in his introduction. Could Oreo be this year’s Stoner?

Oreo is an overlooked, funny feminist classic following the title heroine as she searches for her father in New York. Add [it] to your holiday reading list immediately.