[...] I enjoy reading thrillers but have no desire to keep them on my shelf.
Me, too, with a few exceptions.
Anyway ...
In general, critics hate mysteries, with exceptions like
The Hound of the Baskervilles,
The Moonstone,
Rebecca and
The Maltese Falcon. For a large chunk of the 20th century mysteries were the biggest seller in genre fiction, with the possible exception of romances.
Critics were divided on the Harry Potter series. Whatever power the books had when published was probably exponentially increased by the movies; like
Gone with the Wind they will probably last a long time because of that.
Critics widely panned
Moby Dick when it was first published. Later critics essentially thought the earlier critics demented and eventually general readers caught up.
Critics hate Stephen King. Except the ones who don't, but the former are vocal and number Harold Bloom among their number and Bloom is worth listening to. Like all critics, though, he has blind spots. It's interesting that so many
writers read and enjoy King's work.
Which leads to, Critics hate horror. And there's a lot to dislike in the publisher genre of horror, but that's not all there is and most critics seem to know that, though not all. As with s.f., if it's good it can't be horror, if it's horror it can't be good.
And all mystery, sf, horror and fantasy readers hate critics, because critics have a despicable urge to call out bad or lazy writing, poor thinking and over-used tropes, even the ones who otherwise say sensible things. Okay, maybe not all of the ones who say sensible things. But all genre readers hate Edmund Wilson who had no truck with genre, bashing detective stories (but not Sherlock Holmes or the beginning of
The Big Sleep), H. P. Lovecraft (even while finding HPL's letters of interest), LOTR (but not
The Hobbit which he had enjoyed reading to his daughter [I think daughter]), and ghost stories (while criticizing
Great Tales of Terror and the Supernatural, though in turn offering interesting suggestions for a scary anthology he'd consider putting together). In return, Wilson is remembered by a host of genre readers in terms that would make an Orc blush, but not so much by general readers.
I recall Wilson making a useful distinction, though. There are works like
Middlemarch and
Moby Dick that are classics because they explore territory -- content, style, whatever -- no earlier work did, and do it better than any other work; there is an aesthetic appeal to them that always draws some admirerers. Then there are popular classics like
Treasure Island or the Sherlock Holmes stories that appeal to generations of readers who keep them in print. Most of the books we're talking about here are either flash-in-the-pan successes that will eventually fade away (anyone here still read Robert Chambers' romances? -- from what I've read about Dan Brown's stories, they might fade over time) or works that become popular classics (maybe the Potter books; I do think the movies increase the chances of this). With popular classics later critics usually come around to appreciate them.
Randy M.