'I'm in love with this book ... It's superbly written and very very funny and also very true' David Aaronovitch
'On page after page, O'Neill can still dazzle as a compellingly intelligent writer. Everywhere you look, there's a shimmering portrait of modernity waiting to be glimpsed ... [An] ambitious, lucidly thought-through novel' Guardian
'Our only truly international writer ... Breathtaking ... O'Neill's writing reflects the individual's concerns in our desolate modern world in prose that is illuminating, amusing, sometimes beautiful, but never showy ... A joy to read ... Supremely insightful and intelligent ... You can open the book anywhere and find sparkling sentences that perfectly describe what is momentarily in
focus ... Original and brilliant' Irish Independent
'O'Neill has become a writer extraordinarily attuned to the global and the post-national ... Like "Netherland", THE DOG has captured the zeitgeist ... This is where O'Neill feels at home: telling the stories of those who cease to belong' Telegraph
'Sharp, sad and sometimes hilarious, this is a fable for our times' Daily Mail
'A mercilessly absurd portrait of the city's wealthy residents ... Our narrator is like Woody Allen trapped inside a Kafka novel ... Brilliant ... One of the wittiest critiques of modern, materialistic life that you'll read for a long while' The Times
'The best comic novel I've read for ages' The Scotsman
'Enraged, brutal, witty and at times brilliant' Sunday Times
'Erudite and deliciously comic ... like a mix of Martin Amis and Thomas Bernhard ...With consummate elegance, THE DOG turns in on itself in imitation of the dreadful circling and futility of consciousness itself ... Its wit and brio keeps us more temporarily alive than we usually allow ourselves to be' New York Times Book Review
'A mordantly funny and, surprisingly for these times, deeply moral tale of lost love and economic betrayal' John Banville, Observer, Books of the Year
"Der Hund" ist das schmerzhafteste Buch über die Ort-, Trost- und Sinnlosigkeit der Gegenwart, das sich denken lässt. Den Befund kann man schwer ertragen, O'Neills Roman dagegen nur bejubeln: Er ist virtuos komponiert, elegant, zum Niederknien gut geschrieben, ein Triumph der Form über die banalität des postmodernen postdemokratischen Postkapitalismus. DIE WELT
