”[Accelerando]’s five years of development (it is tempting to apply this sort of corporate language to Stross’s dense techno-speak art-artefact) yielded an early twenty-first-century counterpart to John Brunner’s compressed future shock Hugo-winner of the 1960s, Stand on Zanzibar, complete with the rich idiomatic sidebars or side loads of Baedecker guidance to the non-native. Some will decry this as infodumping of the most blatant kind. Yet it seems unavoidable when a torrential cascade of novelty is the topic of a work of art. Approached with an appreciative generosity of response, these are tight, compressed, inventive, brilliantly illuminated gems, or perhaps genomes (or memomes) that will unfold in a prepared mind into wonderful ecologies of image and idea…”

— Damien Broderick, Unleashing the Strange (Rockville, MD: Borgo Press, 2009), p. 86.