"Keane," wrote Sir Arthur, "depicts his blazingly erudite, occasionally brutal truths through the unique choice of his inimitable medium -- stark black-and-white drawings of American suburban and family life. Interestingly, Keane chooses to add colour to his works one day out of seven -- the Sabbath, a clear nod to the Judeo-Christian ethos."
Several days later, "A reader from Illych, Russia" chimed in, "Keane has changed. Let's follow him. In the last three decades we have followed Keane from his dingy beginnings of SoHo subway grafitti to last year's dangerously provocative show at the Guggenheim (Mr. Warhol watch out!!)."
Within a week, half a dozen critiques had been posted, most gangly with graduate-studies syntax. "Although not as intense as 'Jeffy's Looking at Me,'" wrote a deconstructivist from Mississippi, "this text poses Keane's remark of the other: not me/I don't know. As Foucault once remarked: Jeffy is the extension of the apparatus, the ill-fitting shoe, the intertextual echo of a system trapped within itself, struggling to exist."
True to its promise, Amazon.com hasn't censored the occasional unfavorable comment: "Where is the fin-de-siècle angst that gripped Keane's earlier work?" asked a critic from Missouri. Are Jeffy and P.J. just doomed to wander in a Beckett-like trance through a world devoid of gravity (in a metaphoric sense) and possibility? . . . Mr. Keane clearly has lost his edge, and now seems to be pandering to the lowest common denominator."