Like several women poets in her generation, including Sandra Gilbert, Adrienne Rich, Audre Lorde, and Alice Walker, Alicia Ostriker also writes as a literary critic. Clear and lyrical, her poetry comb...
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In the following review, Nurmi assesses the success of Ostriker's metrical analysis in Vision and Verse in William Blake, revealing the limitations of her technique.
The analyst of Blake�...
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In the following excerpt, Finch examines the “attitude” expressed in Green Age.
These three books of poetry [Baptism of Desire by Louise Erdrich, Green Age by Alicia Ostriker, and To...
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In the following essay, Rosenberg sketches Ostriker's life and career, incorporating the writer's own comments on her work as both poet and mother.
Alicia Suskin Ostriker, 55, was one...
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In the following review, Earnshaw applauds Ostriker's achievement in The Crack in Everything.
In her eighth volume of poems [The Crack in Everything], Alicia Suskin Ostriker puts no barriers...
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In the following excerpt, Townsend highlights thematic concerns of The Crack in Everything.
In “The Class,” in Alicia Suskin Ostriker's eighth collection, The Crack in Everythi...
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In the following review, Hacker concentrates on the themes of The Crack in Everything, ranging from female artists, classroom experiences, and the physical and emotional scars of breast cancer.
Ali...
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In the following review, Taylor considers the significance of and justification for widely mixed themes in The Crack in Everything.
Alicia Suskin Ostriker's new collection [The Crack in Ever...
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In the following excerpt, Dolin delineates the themes and style of The Crack in Everything.
The Crack in Everything, Alicia Ostriker's eighth volume of poetry, is a mature work, filled with ...
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In the following review, George provides an overview of the principal themes of Ostriker's career within the context of the poetry in Stealing the Language and Writing Like a Woman and her two ...
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In the following excerpt, Stout praises the syntactical clarity and emotional restraint of Ostriker's poetic vision in A Dream of Springtime.
Words clash, streak the mind with sunbursts, ric...
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In the following review, Broe highlights various thematic and formal concerns in A Woman Under the Surface which, according to Broe, revise the relation between contemporary feminist artistic principl...
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In the following review, Aldan disputes Ostriker's definitions of gynocentric poetics in Stealing the Language.
I was among those who believed that if a woman poet's work was outstand...
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In the following review, Dove admires the contents and insights of Stealing the Language.
An impeccable piece of scholarship that's as exciting as a detective novel—impossible? Not as...
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In the following essay, Voigt addresses various implications of the female poetic aesthetic outlined in Stealing the Language, suggesting that differences in women's poetry, rather than similar...
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In the following review, Martin discusses the main themes of Stealing the Language, commending its personal style and the inclusiveness of poets represented.
Beginning with Claudine Hermann'...
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In the following review, Costello exposes a number of pitfalls attending the theoretical orientation of Stealing the Language.
Alicia Ostriker's Stealing the Language: The Emergence of Women...
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In the following essay, Costello defends her opinion of Stealing the Language, reiterating that Ostriker's reasoning is flawed.
Alicia Ostriker and I disagree about the meaning and value of ...
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Hyperbolic titles invite dissent. So here’s mine: What makes Allen Ginsberg’s “Howl” “the poem that changed America,” as the cover of this essay collection procl...
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Hyperbolic titles invite dissent. So here’s mine: What makes Allen Ginsberg’s “Howl” “the poem that changed America,” as the cover of this essay collection proc...
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Alicia (Suskin) Ostriker
Critical Review by Martin K. Nurmi
\'d4Howl,\'d5 Ginsberg\'d5s Time Bomb, Still Setting Off New Explosions
