Michiko Kakutani writing for The New York Times considered it a disappointment, saying that although "flashes of Mr. DeLillo’s extraordinary gifts for language can be found in his depiction of the surreal events Keith witnessed on 9/11 ... the remainder of the novel feels tired and brittle."[2] World Socialist Web Site critic Sandy English concluded that parts of the novel were "moving, and one can learn something about the reactions of a particular social layer in New York at the time," but as a whole it "does not succeed as a unified work of art. It falls short of the significance of the events themselves."[3]
Some critics were more positive: both Laura Miller in Salon and Jennifer Reese in Entertainment Weekly described it as DeLillo's best novel since Underworld in 1997, with Miller noting that "DeLillo is a master of the prose riff, and there are a few riffs in here as good as anything he's ever produced."[4][5]