Macleans has best summarized Moore’s work: “Moore’s noir thriller and literary fiction—like Graham Greene, he alternates between ‘entertainment’ and serious novels—are subtle and compelling evocations of a part of the world rarely seen through our eyes.”

Christopher G. Moore’s work defies easy placement within any category. Some critics have said that Moore is a literary writer who also writes a crime fiction series. Others have said that he’s a crime fiction writer who writes literary fiction. Critics and readers may draw a separation between literary fiction and crime fiction because they are taught to place novels within a certain category. It is disturbing if a novelist’s work refuses to fit into one category. In the case of Moore’s novels, his novels are filled with a deep understand and insight of life in Asia. The expression of that life draws upon more than one of the established form.

January Magazine has said that the Vincent Calvino series “recalls the international ‘entertainments’ of Graham Greene or John le Carr?, but the hard-bitten worldview and the cynical, bruised idealism of his battered hero is right out of Chandler.”

Outside of the Calvino novels, the same worldview is appears in his literary novels. Rather than limit his work to one series or category of writing, his work illustrates a commitment to creating narratives, which reflect and drawn upon characters, events, and upheavals in Asia.