"The excessive beauty of these pieces belongs to how well the material is fitted together. It is the information contained in the meticulous fine point that makes us want to understand the heavily wrought materiality of the illusion in front of us. And then once we are caught inches away from the page, we feel the simultaneous tug to step back, and take in the entire tableau, to have it overwhelm our sensory preceptors, and strand us in the depths of surface." J. Peter Moore, reviewing Only More So, Free Verse, 22 (Spring 2012) 

Darwin, just out from Acts of Language, just might be the most beautiful book of poems ever written ... My own sense is that this is the most exquisitely constructed prose I’ve ever read – more lush than Proust … I would have loved Darwin to have been 200 pages. In fact, I would have loved it to have been as long, maybe even longer, than In Search of Lost Time. One senses, having arrived here, that one has reached a text of infinite richness, endless verbal and social wealth. Why would one ever want to leave?”
Ron Silliman, Silliman’s Blog, 15 July 2009
 
“Salt published by far my favourite individual volume of poetry this year, Tony Lopez’s False Memory, a series of sonnet sequences collaging and remixing the white noise of 1990s Britain into a disorienting, sometimes hilarious, often sinister, and always satirical challenge.” Robert Potts, The Guardian, 6 December 03
 
"My favourite book of this year was Tony Lopez’s False Memory, a collection of cento-like sonnet sequences which samples and blends the white noise of 1990s Britain – economics, politics, genetics, fashion, real estate, entertainment, literature – in a surreal and satirical collage, sinister, elegantly amusing, and ultimately asking demanding political questions.” Robert Potts, New Statesman (1 December 03): 46
 
“Lopez’s writing, more than ever, engages with dystopian anxiety the grievous fictions of contemporaneity: it is beset and irked by its inexaustible material on every occasion, but by its denial to Lopez of his own voice, so fully has he read himself into and written himself out of it, genuine horror is forestalled.” Andrew Crozier, 'Writing by Numbers: A Preview' reviewing False Memory (The Figures, 1996), Jacket, 11 (April 2000)
 
“A garden of Boccaccio attacked by chainsaws, or a Black Magic advert with a bloody ending: as if Baudrillard had invaded our lives far more deeply than we could have imagined.” Douglas Oliver, British Institute, Paris, on the poem 'When You Wish' 
 
“I’ve been engrossed in False Memory: the clean implacability of the style is arresting – and to a wretched Faustian like myself – even lovely. The world I see is very like the world I see in these poems, and there are many ways of registering being stunned. ‘Brought Forward’ is to me beyond praise.” Jerome J McGann, Commonwealth Professor of English at the University of Virginia, on the cover of the Salt edition of False Memory, 2003
 
“Tony Lopez’s intricate sonnet sequence is called False Memory, a wonderfully deceptive title for no one ‘remembers’ better than Lopez, for whom everything that happens, that he reads about or witnesses, becomes grist for the poetic mill. These eleven sets of ten linked unrhymed sonnets are full of startling aperçus and unexpected wisdom. And yet nothing is obvious in Lopez’s poetic universe, alternately commonsensical and surreal, down-to-earth and utterly fantastic. The book’s ‘casualness’ is highly crafted and designed: one reads through the sequence without wanting to pause for breath, it’s poetic premise being that ‘deferred closure is our only chance of attendance / When we finally step out of the taxi and begin to play’.” Marjorie Perloff, Sadie Dernham Patek Professor of Humanities, Stanford University, on the cover of the Salt edition of False Memory, 2003