In the following essay, Turner recounts his attempts to discover the personal background to Death Comes for the Archbishop, including his interviews with New Mexican writers of the 1920s and his travels to sites visited by Cather.

In the following essay, Watkins discusses Cather's diverse cast of characters, settings, and themes in Death Comes for the Archbishop.

In the following essay, the Blooms examine factors that went into Cather's writing of Death Comes for the Archbishop, particularly her wish to recreate in fiction the tradition and style of medieval saints' legends that appear in writing and painting.

In the following essay, Horgan examines fiction and nonfiction about the life of the historical Father Juan Bautista Lamy, the archbishop of Cather's novel.

In the following essay, Schwind examines the meaning of Cather's pictorial compositions in Death Comes for the Archbishop.

In the following essay, Fisher-Wirth categorizes Death Comes for the Archbishop as the fifth in the series of Cather's novels—including My Ántonia, A Lost Lady, The Professor's House, and My Mortal Enemy—that deal with issues of fall and redemption.

In the following essay, Shaw relates Cather's own sexual and gender crisis to her portrayal of the female characters in Death Comes for the Archbishop.

In the following essay, Charles maintains that the title of Death Comes for the Archbishop belies the novel's focus on life and Christian love.

In the following essay, Greene characterizes Death Comes for the Archbishop as a “search for the moral self,” which he also believes informs Cather's other works.

In the following essay, Murphy argues that Death Comes for the Archbishop is Cather's deliberate attempt to create a twentieth-century Divine Comedy.

In the following essay, Stewart argues that Cather borrowed heavily from Puvis de Chavannes's series of frescoes of the life of Saint Genevieve and Holbein's “Dance of Death” woodcuts in her composition of Death Comes for the Archbishop.

In the following essay, Giannone examines the significance of music in Death Comes for the Archbishop.

In the following essay, Skaggs addresses the question of how Cather could have written My Mortal Enemy and Death Comes for the Archbishop—two novels radically different in tone and subject matter—within the space of twelve months.

In the following essay, Powell discusses his impressions of Death Comes for the Archbishop upon rereading it after twenty years.

In the following essay, Warner discusses the artistic liberties Cather took in telling the story of the two historical New Mexican bishops in Death Comes for the Archbishop, finding that, while Cather's novel is a great work of art, it leads to the wrong impression of the men.

In the following essay, Stouck argues that, rather than falling into the novel genre, Death Comes for the Archbishop follows the tradition of North American travel writing.

In the following review, West contrasts Cather's simple yet evocative story-telling with the more complicated modes of modernist writers such as James Joyce and D. H. Lawrence, finding Cather's writing in Death Comes for the Archbishop a great artistic accomplishment.

In the following essay, Murphy maintains that Cather's view of history in Death Comes for the Archbishop is “cyclical” in that the heroic archetypes of the American West repeat those of the classical literature of Europe and ancient Greece.

In the following essay, the Stoucks argue that Cather's faith in the redemptive effects of and similarities between art and religion form a fundamental theme in Death Comes for the Archbishop.

In the following essay, Doane outlines ways in which Bishop Latour in Death Comes for the Archbishop is similar to Godfrey St. Peter in Cather's novel The Professor's House.

In the following essay, Dinn examines the miraculous in Death Comes for the Archbishop.

In the following review, Stuart questions the wisdom of Cather's changing certain historical facts about the Catholic missionaries in the American Southwest in Death Comes for the Archbishop, but he ultimately praises it as a “remarkable” novel.

In the following essay, Krutch discusses Death Comes for the Archbishop as an elegy and compares the novel, which, he points out, has almost no plot, to a beautiful picture.

In the following review, Dodd offers high praise for Cather's portrayal of the priests in Death Comes for the Archbishop.