“This final installment of the Dewey Decimal trilogy capably stands alone as a quirky, sparkly read that will embiggen your cerebellum.”
—Library Journal

“Larson treats the English language as a sort of toy to play with and use for experimentation; language is not just used to tell the story, in other words, but is a part of the story, an extension of its narrator, Dewey Decimal, one of the more offbeat characters in fiction. A fitting conclusion to a unique and memorable trilogy.”
—Booklist

“A sharp and satisfying conclusion to one of the most unique hard-boiled arcs in recent memory.”
—Kirkus Reviews

“Dewey is an unlikely hero, a gimpy, smart-mouthed loner, obsessed with a brand-name hand sanitizer. His indomitable spirit and his distinctive ghetto-infused, educated patter give Larson’s series its unique and spicy character.”
—Publishers Weekly

“The final book in Larson’s compulsively readable, uniquely strange Dewey Decimal trilogy, The Immune System features Larson’s patented ability to play with words and sentence structure in a way that mirrors the disorienting events happening in the plot. And yet, because the reader is in such good hands with Larson, it doesn’t matter if everything is clear right from the start. Just trust that Larson knows where he’s taking you, and enjoy the slightly surreal, definitely funny ride.”
—The L Magazine

“The final book in the Dewey Decimal System trilogy, in which Dewey deals with dirty politicians, civilian outcasts, Saudi, royals, and the truth about the cataclysmic events in NYC. I adored these books, and it thrills me to know the author is also a member of Shudder to Think.”
—Book Riot

“The final installment of one of the finest (and weirdest) thriller trilogies ever. . . . There is physical action aplenty in this breathtaking novel—fistfights, shoot-outs, bombs, etc.—but during the finale of Larson’s glorious trilogy, we learn that in the end, the only struggle that ever mattered was Decimal’s struggle with himself.”
—Mystery Scene

“[An] engrossing concluding entry in Larson’s Dewey Decimal trilogy. . . . Larson’s version of New York City is vividly . . . realized, almost becoming a character in itself, and his fast-paced narrative style makes the most of both his post-apocalyptic setting and his brain-scrambled protagonist.”
—Manhattan Book Review

“And so we come to the final volume in Nathan Larson’s edgy, spectacular, dystopian trilogy . . . It is the narrator, his driving prose, his struggles against the darkness, that makes [the books] impossible to put down . . . Go back to the beginning, read them in order, admire the growth in the central character, be swept up in the details of a city struggling not to die, and mourn the loss of what we have and might so lightly throw away. But if you can’t do that, read this one anyway. You won’t regret it.”
—Reviewing the Evidence

“Readers who enjoy noir or hardboiled mystery, dystopian fiction, or gritty urban fantasy should absolutely try the series.”
—Killer Nashville, Book of the Day

“Nathan Larson’s writing style in this book is a lot like the style within Pygmy by Chuck Palahniuk—short and somewhat curt sentences that allow the complex and multi-level story to be easily understood and enjoyed. This book is definitely for anyone who enjoys the crude humor of Palahniuk and the fantastical storytelling of Orson Scott Card.”
—SLUG Magazine

“A perfect synthesis of poetic observation melded with streetwise patois, percussive and rhythmic . . . . It’s quite a feat to write a dystopia that is fun and takes the reader to a better place for a while. Larson does this.”
—Razorcake

Praise for the Dewey Decimal series:

“The most incredible thing about Larson’s novel is just how credible it is . . . and the prose is perfect, as tweaked and jumpy and memorable as the man known as Dewey Decimal. I’m a Library of Congress girl myself, but Larson’s uncannily original fiction deserves its own number within any system of library classification.”
—Laura Lippman, author of After I’m Gone

“Larson’s vividly imagined world and his quirky narrator are likely to win him a cadre of loyal fans.”
—Publishers Weekly

“Whiplash prose, teeth-gnashing dialogue and post-civilization concepts that make a crazy (amateur) librarian in a pitch-black world a hell of a lot of fun . . . A good time for fans of the likes of Charlie Huston and Charles Stross.”
—Kirkus Reviews