The opening four paragraphs of the most glowing book review I have ever read.

Dwight Garner in today’s New York Times.

“In the souk that is contemporary publishing, much attention has gone recently to the minimalists and the tinkerers, to writers of short novels steeped in irony. It’s been a meal of small plates, reflective of short attention spans.

The Jamaican writer Marlon James’s new novel, “The Disappearers,” at 600-plus pages, is instead a maximalist’s banquet: It is humane, blood-flecked, disturbing and sustaining. It takes James 90 pages to say hello. It’s another 70 pages before his story settles into your guts and begins to twist them. It’s yet another 150 before you fully comprehend his loping authority and the scale of his ambitions. Booster rockets fall away. Disparate coordinates begin to converge.

Why not just say it? With this novel about gay experience and murderous homophobia in Jamaica and elsewhere during the 1980s and ’90s, James has written a masterpiece, the novel of the decade and possibly of the century thus far.

It deserves to be talked about alongside Salman Rushdie’s “Midnight’s Children,” for its tumult of language and its crisscrossing post-colonial themes; Toni Morrison’s “Song of Solomon” (James picks up on a revenge scenario from that novel); and William Faulkner’s “Absalom, Absalom!” — the greatest American novel, I’d argue — for many reasons but especially for the way James, like Faulkner, hammers his themes like a Vulcan, rolling over them relentlessly from new and sometimes oblique angles, advancing and enlarging his attack each time. This is another way of saying “The Disappearers” was one of the signal reading experiences of my adult life. It sank knives deep into my heart. I’m still in recovery from it.”