In the following essay, Gregory investigates the influence of Harold Pinter on Dorfman's work, concluding that the two writers both focus heavily on “issues of the interaction of politics and language and of the mental and physical abuse of the rebellious and the powerless.”

In the following essay, Morace traces the initial success and eventual decline in popularity of Death and the Maiden, arguing that the several celebrity-driven adaptations of the play have ultimately lessened the work's dramatic and emotional impact.

In the following essay, Crnkovic presents a critical analysis of director Roman Polanski's film adaptation of Death and the Maiden, discussing how the director interpreted both the original play and Dorfman's screenplay.

In the following interview, Dorfman discusses the challenges of being a bilingual writer, the influence of his Jewish background on his work, and the role of memory, suffering, and justice in his fiction.

In the following essay, Hassett explores how Dorfman utilizes memory as a source of dramatic and emotional conflict in Viudas, La última canción de Manuel Sendero and “La batalla de los colores.”

In the following interview, Dorfman discusses the themes and narrative voice of The Last Song of Manuel Sendero and Mascara.

In the following excerpt, Schwartz regards Blake's Therapy as a “nightmarish social parable.”

In the following review of The Nanny and the Iceberg, Mujica maintains that Dorfman presents“ample food for thought in a rich, complex, and sometimes hilarious text.”

In the following review, Nieto comments on the strengths and weaknesses of the stories collected in My House Is on Fire, noting that all of the stories “reflect the omniscient presence of a repressive military state.”

In the following review, Pineda finds Mascara to be an inventive and successful thriller, comparing Dorfman favorably to Franz Kafka and Kobo Abe.

In the following review, Weales argues that, despite Dorfman's “elegant” plot, Death and the Maiden fails to engage the audience or make the characters and plot believable.

In the following review, France laments Dorfman's unfocused narrative in The Nanny and the Iceberg, calling the novel “confused, over-long and often clumsy.”

In the following review, Butt derides Dorfman's complex and overworked language in The Nanny and the Iceberg.

In the following review, Kanfer presents a negative critical reading of Death and the Maiden, maintaining that the play “has no armature, no catharsis, no revelation, no real ending.”

In the following review, Nash compliments Dorfman's “chilling” portrayal of political oppression in Reader, drawing parallels to the plot of Death and the Maiden.

In the following review, France regards Heading South, Looking North as an autobiographical reflection “on the nature of language and identity.”

In the following review, Hernandez compliments Dorfman's timely examination of ethics and corporate politics in Blake's Therapy.

In the following review, Stavans lauds the powerful ambiguity of Dorfman's narrative in Death and the Maiden, arguing that the play is “full of action and disarming ideas.”

In the following review, McMurray criticizes Dorfman's confusing and overly obtuse narrative structure in Konfidenz.

In the following review, Lindstrom praises the poetry collected in In Case of Fire in a Foreign Land: New and Collected Poems from Two Languages, asserting that the volume presents “distinguished examples of both exile writing and what is sometimes categorized as ‘literature of human rights.’”

In the following review, Grecco asserts that, despite its admirable subject matter, Speak Truth to Power is “dramaturgically inert and does little to further the cause to which it aspires.”

In the following review, Byrne praises Dorfman's fragmentary narrative in Hard Rain, calling the work a “brilliant anti-novel.”

In the following review, Post contends that Dorfman constructs a playful and effective narrative in Blake's Therapy and notes that the novel solidifies “Dorfman's place within the grand tradition of experimental Latin American novelists.”

In the following review, Kauffmann laments the lack of resolution in Death and the Maiden, noting that the American actors are “miscast” as South Americans.

In the following excerpt, Hopkinson commends the emotional range of the stories in My House Is on Fire and praises Dorfman's attention to detail in his short fiction.

In the following review, Peaco argues that, despite the novel's “promising” subject material, The Nanny and the Iceberg suffers from Dorfman's “inelegant treatment of women and sex, and tedious rendering of rants from all corners of Chilean politics.”

In the following review, the critic commends Exorcising Terror as an “accessible” and “powerful” look at modern Chilean politics.

In the following review, McClennen praises Dorfman's literary experimentation in The Nanny and the Iceberg but notes that the nontraditional narrative “wavers on the absurd.”