In the following essay, McClintock considers Dillard's work in comparison to the genre of American environmental writing, arguing that her work is uniquely Christian in perspective.

In the following essay, Felch provides an overview of Dillard's writing and investigates how physics has shaped Dillard's cosmology.

In the essay below, Tietjen argues that Dillard focuses too much on individual experience in Pilgrim at Tinker Creek and misleads the reader.

In the essay below, Scheick discusses the narrative structure of Dillard's works and the junctions she creates between elements in her narrative.

In the essay below, Brown-Davidson provides an overview of Dillard's works.

In the essay below, Reimer argues that Dillard employs a dual dialectic in Pilgrim at Tinker Creek, first between nature and religion, then between beauty and horror.

In the following essay, McConahay compares Henry David Thoreau's Walden to Dillard's Pilgrim at Tinker Creek, noting that both writers focus on self in their efforts to explain the universe.

In the following essay, Bischoff compares Dillard's American Childhood with Maxine Hong Kingston's autobiography The Woman Warrior, noting that despite different backgrounds the two authors depict similar experiences.

In the following review of The Living, Keneally praises Dillard's style and tone.

In the review below, Berne argues that The Writing Life is at its best when Dillard is less strident and relentless.

In the following review of The Living, Ganz praises Dillard's ability to find meaning in ordinary settings.

In the excerpt below, Haines argues that Dillard's experimentations in Mornings Like This raise some disturbing questions about sources.