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Critic and William
Critic William Kuhn argued that much of his fiction can be read as " the memoirs he never wrote ", revealing the inner life of a politician for whom the norms of Victorian public life appeared to represent a social straitjacket – particularly with regard to his allegedly " ambiguous sexuality.
Critic William Baer notes that throughout his career " he constantly rose to the challenge of his own aspirations ", adding that " he was a pioneer and visionary who greatly affected the history of both stage and cinema ".
Critic William Michael Rossetti considered Leaves of Grass a classic along the lines of the works of William Shakespeare and Dante Alighieri.
He gave assistance to William Beloe in one or two articles in the British Critic, and probably wrote also in the Analytical Review and the Critical Review.
* F. H. Armstrong, " William Lyon Mackenzie, First Mayor of Toronto: A Study of a Critic in Power ", Canadian Historical Review 48 ( 1967 )
Also that year, the Boston Critic dedicated a special issue to Lowell on his seventieth birthday to recollections and reminiscences by his friends, including former presidents Hayes and Benjamin Harrison and British Prime Minister William Ewart Gladstone as well as Alfred Tennyson and Francis Parkman.
Critic William Burrill dismissed the game's visuals as " Dim Boy graphics are nothing to write home about ".
Critic William Winter said, “ He was followed as a marvel.
Critic Stephen Burt at the Boston Review commented: " William Carlos Williams and Emily Dickinson together taught Armantrout how to dismantle and reassemble the forms of stanzaic lyric — how to turn it inside out and backwards, how to embody large questions and apprehensions in the conjunctions of individual words, how to generate productive clashes from arrangements of small groups of phrases.
Critic Harold Bloom remarked several years later that Fields ', " croaking his ghastly dirge to the uncertain sound of his dulcimer, is a parodic version of the Bard of Sensibility, a figure out of the primitivism of Thomas Gray or William Blake.
Critic William Lawrence Schroeder described Holmes's prose style as " attractive " in that it " made no great demand on the attention of the reader.
" William Graham Sumner: Critic of Progressive Liberalism.
" William Graham Sumner as a Critic of the Spanish American War.
Critic William Ruhlman agreed, writing that the album " is a highly referential work from an artist who started where most end and has been earnestly seeking the right direction ever since.
* 1985 – William Dudley for The Mysteries, The Real Inspector Hound, The Critic, The Merry Wives of Windsor and Mutiny
Critic William Fulwiler argues that Edgar Rice Burroughs ' At the Earth's Core was one of Lovecraft's primary inspirations for " The Nameless City ", citing " the reptile race, the tunnel to the interior of the earth, and the ' hidden world of eternal day '" as elements common to both tales.
* William Grimes, Hayden Carruth, Poet and Critic, Dies at 87, New York Times, 30 September 2008

Critic and agreed
When he voiced his concerns about how to draw The Critic into the Simpsons ' universe he was right and we agreed to his changes.

Critic and though
" Critic Paul Tatara noted that " It isn't really fair to suggest that the movie's main subject is dance, though.
Critic Tzvetan Todorov described Bénichou ’ s special interest asthe thought of poets .” More generally, though, Paul Bénichou ’ s work contributed to the understanding of the creative writer's place in modernity, and illuminated the role of writers in legitimating the institutions and values of modern society.
" Critic Robert Christgau graded the album as a B + though he felt that Beefheart's " much-bruited commercial bid turns out to have all the mass appeal of King of the Delta Blues Singers ".
When pressed, Burns identifies himself as a New Critic, though he is not known for close reading the works he is critiquing.

Critic and did
Critic Roger Ebert, in a review dated January 1, 1972, did not care for the film.
Critic Janet Maslin of The New York Times wrote that the film was the greatest adaptation of the novel and remarked on Dunst's performance, " The perfect contrast to take-charge Jo comes from Kirsten Dunst's scene-stealing Amy, whose vanity and twinkling mischief make so much more sense coming from an 11-year-old vixen than they did from grown-up Joan Bennett in 1933.
Critic Billy Altman, whose work has appeared in many publications including Entertainment Weekly and The New York Times, wrote the following for Amazon. com: " One of rock's most overlooked masterpieces, this third album by the L. A. folk-rock outfit led by inscrutable singer-songwriter Arthur Lee sounds as fresh and innovative today as it did upon its original release in 1968.
Critic Lawrence van Gelder, writing for The New York Times, did not like the film.
Critic and artist Roger Fry did something to restore it in the 1930s, when he described Lawrence as having a " consummate mastery over the means of artistic expression " with an " unerring hand and eye ".
" Opposition parliamentarians dismissed the report as a scare tactic, while Liberal Environment Critic David McGuinty argued that the study was misleading, saying that it did not properly examine international emission trading and ignored jobs to be created through the " green economy ".
Critic Andrew Sarris, of The New York Observer, who did not enjoy the film's style in general, wrote " I wonder if even children will respond to the peculiarly humorless and charmless stylistic eccentricities of Mr. Burton and his star, Johnny Depp.
Critic Jeet Heer, who did his thesis on Gray and wrote introductions to IDW's Little Orphan Annie collections, commented:
" Critic Robert Christgau commented that the best songs were the ones Browne did not write.
He turned down an offer to become Agriculture Critic, and did not stand in the 2004 campaign.
He held no Critic portfolios in the legislature, and did not seek re-election in 1990.
Critic Richard Eder did not like the film much.
Taylor served in opposition as his party's Energy Critic, and did not run for re-election in 1987.

Critic and album
Critic Steve Huey calls it " perhaps Tom Waits's most cohesive album ... a morbid, sinister nightmare, one that applied the quirks of his experimental ' 80s classics to stunningly evocative — and often harrowing — effect ... Waits ' most affecting and powerful recording, even if it isn't his most accessible.
Critic Robert Christgau gave the album a B +, saying that " I find it impossible to give this record an A because it is just too weird.
Critic Steve Huey of Allmusic later rated the album with four and a half stars out of five, stating that the " record sounds like a bridge between Mother Love Bone's theatrical ' 70s-rock updates and Pearl Jam's hard-rocking seriousness.
Critic Robert Christgau was the " originator of the ' consumer guide ' approach to pop music reviews ", an approach to writing pop recording reviews that was designed to help consumers to decide whether to buy a new album.
The album was produced by Tito Larriva of The Plugz and The Flesh Eaters frontman Chris D. Critic Stevo Olende has written that the " album's lyrical imagery is plundered from voodoo, ' 50's EC comics and the blues ," while another notes that " Nobody has heard music like this before or since.
Critic Stephen Thomas Erlewine of Allmusic speculated that the alternate persona and elaborate marketing scheme backfired, writing, " When Brooks ' new persona and his album were revealed to the public, they were unforgiving-they didn't think he was playing a role, they simply thought he'd lost his mind.
Critic Steve Huey called their album Morbid Florist " barely listenable ".
Critic Ed Naha, writing in Crawdaddy !, gave the album a negative review, saying, " Much of the Wonderlandish magic found on Eno ’ s first LP is lost on this rocky terrain, being replaced by a dull,
Sputnik Music and NME gave it 4. 5 stars to the album with Sputnik Music's Critic Tyler Fisher saying: " This is their most cohesive album, it expands on newer sounds and improves on others.
Critic Brian Olewnick describes the album as " A staggering achievement, one is tempted to call The Hands of Caravaggio the first great piano concerto of the 21st century.
Critic Charles Shaar Murray wrote, " Bob Dylan has never seemed more perfect and more impressive than on this album.
Critic Stephen Thomas Erlewine described the hair metal – leaning album as " unbearable ".
Critic Robert Christgau called the album " A satire on, celebration of, and lament for the upper-middle classmates an Orange County liberal knows like he knows his neighbor's backyard ..."
Critic Adrian Denning, in his review of the album, compliments, " Both the vocals and guitar are utterly beautiful.
" Critic Andre Meyer of CBS News thought the material on the album was " stronger " than on Charmbracelet, and described it as a move in Carey's long-term plan for pop domination, while giving off the " jittery R & B vibe that made Destiny's Child so potent.
Critic and Beefheart biographer Mike Barnes has offered that the album was " ponderous ... it really just lumbers along.
Showing the growing influence of Frank Zappa on the Monkees ' circle ( Zappa even has a cameo role as " The Critic " in the film itself ), the soundtrack album intersperses the six proper songs (" Porpoise Song ", " Circle Sky ", " Can You Dig It?
Critic Sarah Bee of Melody Maker, in a favorable review of the album Permanent Stains, wrote, " These men are in touch with their inner deviants.
Critic Ian D ' Giff of Newsday wrote that Showcase Showdown's cover version of the Sex Pistols ' song " Friggin ' in the Riggin '", from the album Never Mind the Sex Pistols ... Heres the Tribute, was " raging ", and it " nearly makes up for the album's shortcomings ".
Critic John Metzger of The Music Box praised the album, saying that " the group's songs combine the melodic pop of The Beatles with the heavy-handed thunder of The Who and the tight-knit harmonic luster of The Byrds ".

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