Powers discusses Orfeo on the Leonard Lopate radio show, January 21, 2014.

“Orfeo by Richard Powers: review,” by John Freeman, Toronto Star, January 21, 2014. “The harmony and chaos of the world, evoked in one long song.” [Powers’s] 11 works of fiction have surfed the revolutions of science and technology, drawing the heart and head into lyrical alignment. … Orfeo is a long novel, but it never feels so. The, Read More

“Ofeo,” a review by Tom LeClair, Barnes and Noble Review, January 21, 2014. Since reviewing Richard Powers’s second novel, Prisoner’s Dilemma, in 1988, I’ve had to keep track of his age so that, when asked who to read, I can say, “Powers. He’s the most important living American novelist under” whatever age he happens to be at the time., Read More

“‘Orfeo’: Artist or terrorist — is there a difference?,” by Laura Miller, Salon, January 19, 2014.  In Richard Powers’ sweeping new novel of ideas, an avant-garde composer flees charges of bioterrorism. Powers, with “Orfeo,” also seems to be entertaining a revived respect for storytelling; there’s no point in this novel where you feel you have to, Read More

“‘Orfeo,’ richly told, details our culture of fear,” by John Domini, Philly.com, January 19, 2014. Orfeo displays all the excellences for which Richard Powers is celebrated. … But beyond the conceptual fit is the beauty of its expression. Orfeo, titled after a Monteverdi opera and, of course, a mythic maestro, has passages that rise to ecstasy. Its descriptions, Read More

“Richard Powers’ new novel is based on the notorious Steve Kurtz case in Buffalo,” by William L. Morris, The Buffalo News, January 19, 2014. “Orfeo” is based on the strange and tragic case of Steve Kurtz, art professor at UB and founding member of the Critical Art Ensemble. In 2004 he was arrested and had his, Read More

A review of Orfeo by Ted Gioia, San Francisco Chronicle, January 17, 2014. For sheer bravado in constructing sentences, few authors of contemporary fiction can surpass Powers… The end result is a style that mixes the best elements of Oliver Sacks, Alex Ross and Virginia Woolf. I’m not sure any other writer could pull this off,, Read More

“‘Orfeo’ composes a moving tale of music and terrorism,” by Maggie Galehouse, Houston Chronicle, January 17, 2014. It is a rare thing to finish a book and still be lost in it – to be startled by the drone of a lawnmower or the thunk of the next dishwasher cycle because a story has lifted you, so, Read More

A Strange Composition: Classical Music Meets Bioterror In ‘Orfeo.’ NPR’s  Audie Cornish interviews Richard Powers for All Things Considered, January 17, 2014.

“Fiction Chronicle: The Staff of Life,” a review of Orfeo by Sam Sacks, Wall Street Journal, January 17, 2014.  The reviewer also notes that Orfeo is the first novel he has encountered “that incorporates Twitter in a smart and interesting way.” Powers reaffirms the magnetic attraction between music and the miracle of life…  Orfeo alternates between bittersweet memories, Read More

“Richard Powers points to the power of art in ‘Orfeo’,” by Mike Fischer, Milwaukee Journal Sentinel, January 17, 2014. Powers develops his reflections on art through the book’s crown jewels: a series of deliriously beautiful, musically sophisticated readings involving 20th-century pieces….

“Richard Powers’ ‘Orfeo’ sends a composer on the lam,” a review by Dan Cryer, Newsday, January 16, 2014. Powers brings his characters to life through vivid dialogue and language sometimes musical and always attentive to precise detail. … his evocations of music, let alone lost love, simply soar off the page. …  Peter Els emerges as, Read More