"Equipped with a fierce moral vision and a sensuous musicality . [Murray] writes subtly about post colonialism, urban sprawl and poverty and, in his most intimate poems, reminds us of the power of literature to transubstantiate grievance into insight. (His admirers have argued he ought to be considered for a Nobel.) But he is equally capable of writing emotionally simplistic and strangely soured poems in which the enraged adolescent emerges all but unmediated. This mercurial doubleness can make his work hard to categorize or describe: this is a mind at once revolutionary and reactionary. Or maybe just a poet who's willing to show more id than most." -Meghan O'Rourke, The New York Times Book Review   "Mr. Murray's verse wears, from the waist up, a cosmopolitan, Philip Larkin-like wit.

From the waist down, it dresses in worn dungarees and mud-caked boots. There's a sense of rural astringency . Mr. Murray employs both rhyme and meter, but variably-he's like a man walking a large, randy, omnivorous dog on a retractable leash. He can cinch his words tightly in an instant; he owns one of poetry's most sensitive verbal choke collars . " -Dwight Garner, The New York Times   "Murray's poetics sits very well with the blend of English psychological empiricism and German idealist aesthetics that made up American New Criticism; and many of his poems themselves respond well to the kind of close, objective reading promoted in the New Critical classroom . [He has] an acute sensitivity to sensory impressions and an extraordinary capacity to articulate them."  -J.

M. Coetzee, The New York Review of Books.