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  let us see about the critics  We remarked that Of their suppressive powers are small.  That is true.  For [[strikethrough]] they are as [[/strikethrough]] critics are as a rule subservients  They have a nose for self interest and they [[sate?]] by writing long winded puffs about some artist who has "arrived" and usually at the [[strikethrough]] dri [[/strikethrough]] direct behest of some one who has a commercial interest in the work of the "arrived".  Occasionally a critic [[strikethrough]] sha [[/strikethrough]] stands forth independently, and hails a new man when there is no prospect of personal gain in so doing.  We haven't many such in New York.
     Perhaps the critic in New York today who has the biggest [[strikethrough]] name [[/strikethrough]] following, at least the one whose books of criticism sell well up with the "best sellers" is James [[strikethrough]] Huneker [[/strikethrough]] Gibbons Huneker.  Huneker is a [[illegible?]] brilliant phraseologist.  He is the king of press-agents.  Week after week his articles, whether on music, painting, the drama or on pure literature teem with references to authors and books.  [[strikethrough]] In two columns we may count upon stimulation [[/strikethrough]]  Mr. Huneker has a clean way of dragging in those references so that the reader is piqued into feeling very ignorant and closes the essay with a vow to getting in touch right away with the bio or the three kindred volumes which seem essential.

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[[image:  full page sketch of a river with buildings on the far bank.]]
[[Park Hill? 1919]]

Transcription Notes:
Here is a link to the Wiki article on James Gibbons Huneker: https://en.wikipedia.org/wiki/James_Huneker