There’s no one more qualified to write [this] than Chuck Klosterman. Always an astute cultural observer and a fan of deep dives into any subject, Klosterman is focused here on a decade in American life that he says is often portrayed as 'a low-risk grunge cartoon'.

It is a thoughtful and engaging trip down the Gen-X rabbit hole.

Compared with the average cultural critic today, whose sensibility was likely shaped by ardent online fandoms and obsessions, Klosterman is cool, even detached. You can find that off-putting, or you can find it (as I do) a refreshing change.

His extended description of the dreaded AOL login sequence, with its dial tone, beeps and white noise is positively masterful. He’ll deftly slip in a one-liner.

Anything experienced through the screen of a television becomes a TV show,' Klosterman declares, a little too sweepingly.

Klosterman’s remarkable book made me rethink my decade and rethink myself.

The effect is like watching TV with an opinionated but impatient connoisseur of everything that’s on—hopscotching, riffing, channel-flipping. This may be part of the point. The prime mover of the nineties, to Klosterman’s mind, was a machine.

Idiosyncratic and amusing and very rarely irritating. Its lack of portentousness can be found right there on its cover.

'The video for 'Smells Like Teen Spirit' was not more consequential than the reunification of Germany,' Chuck Klosterman writes in The Nineties. Yet the joyous, maddening thing about this beautiful book is that he clearly believes that it was.

There's not much missing from this delightful collection of quotes and culture.

Klosterman makes compelling connections.

Chuck Klosterman dissects the decade's most iconic people, events and artifacts, using his customary high-energy prose, sidelong point of view and delight in the preposterous.

'Part of the complexity of living through history is the process of explaining things about the past that you never explained to yourself,' Klosterman writes, and despite some stumbling (the footnotes are annoying and unnecessary) it’s a task that he performs admirably.

Klosterman returns with an entertaining journey through the last decade of the 20th century.

This nostalgic look at the waning days of offline culture both piques and entertains..