The best parts of Matt Ruff's alternate War on Terror world are when the story seems like a waking dream: characters sense their version of events is not quite the reality, yet the scenes are infused with details too vivid to be anything less. These parts, especially during the first half of the novel, open the reader's eyes to new perspectives on what Americans must think of as an unchangeable cultural moment. But, also as with a dream, the longer the novel goes on, the more gaps appear to make the story less effective, less believable, and less magical. It plays games with wild pairings that work only to make the characters whose world we wanted to believe in seem less believable themselves. The ending effectively explains "the mirage," but the second half of the book disappoints on a promise: that even a broken mirror can, through inversion and distortion, show us exactly who we are.