that denies the existence of love. Reviews of Oregon Confetti In early reviews of Oregon Confetti, Oser's Catholic vantage point continues to be a source of interest and contention. Critic Anthony Domestico lists the novel among Commonweal Magazine'''s Top Books of 2017, saying "Antic, absurdist, comic, and Catholic, this ribald novel grows out of the Evelyn Waugh and John Kennedy Toole tradition. But I also heard echoes of W. H. Auden. Like him, Oser finds theology in two unlikely genres: the picaresque and the detective novel." According to Trevor C. Merrill at The University Bookman, Oregon Confetti "represents an edgier, rowdier brand of religious literature. It takes on today’s shoddiest secular ideologies and shows the dreariness of succumbing to them, but also the appeal of making the sacrifices necessary to leave them behind. Instead of addressing a nonbelieving audience 'which puts little stock in either grace or the devil,' as Flannery O’Connor put it, Oser aims at a faithful subculture likely to share, or at the very least to sympathize with, his basic views on art, sex, and religion....In short: Oregon Confetti makes it possible once more to ask not where the American Catholic novel has gone, but where it is headed next." Martin Lockerd at Literary Matters comments on the novel's satire, saying "At times, [Oser's] relentless satire recalls Walker Percy and Evelyn Waugh at their best...Other assaults on modern liberalism are harder to follow....It is a Catholic novel with a capital C. In a contemporary literary scene where such books almost never find a publisher, Oregon Confetti provides a welcome religious counter to the deluge of post-secular malaise found in most novels. Nevertheless," Lockerd comments, "I couldn’t help wanting something a bit subtler." Anne-Sophie Olsen at The Cornell Book Review portrays Oregon Confetti as such: "In this sharp and fast-paced novel, author Lee Oser pits love against lust, beauty against aesthetics, and truth against falsehood in the politically charged art scene of Portland, Oregon. With writing that is self-aware and guided by a trust in the mysterious, Oser follows art dealer Devin Adams through tangled webs that intersect the past with the present and the cynical with the transcendent...Though Oser occasionally indulges in more teaching than storytelling, he has succeeded in holding honest, rough-edged characters up to the light of mystery and letting moments of grace change them for the better." Finally, In October 2018, critic Joseph Pearce