In the following essay, Thurston offers a thematic and stylistic examination of Boland's longer poetic works.

In the following essay, Gelpi investigates the influence of the American poet Adrienne Rich on Boland's poetry.

In the following essay, Sullivan perceives Boland's “revisionary struggle” with Irish mythology, which depicts women in subordinate and passive roles as an attempt to “repossess” Irish poetry for women.

In the following essay, Shifrer examines the role of fabrics in Boland's poetry.

In the following essay, Clutterbuck addresses the critical reaction to issues of feminism and nationalism in Boland's verse.

In the following essay, Weekes applies Richard Kearney's theory about the connection between Irish Revivalism and modernism to Boland's poetry.

In the following essay, Keen places the poetry of Boland and Nuala Ní Dhomhnaill in relation to their writings on gender, nationalism, and history.

In the following review, Foy asserts that Boland's poems will stand "not on the politics that burdens and distinguishes them for now but on the hardihood of their afterlife as a lyrical voice."

In the following essay, Consalvo argues that "Boland is a literary voice which cannot, and must not, be left to reside in the marginalia of the Irish literary canon."

In the following essay, Robertson analyzes Boland's subversion of the male tradition in her poetry.

In the following essay, Atfield considers the issue of postcolonialism in Boland's verse.

In the following essay, Allen-Randolph discusses the relationship among the poems in Boland's In Her Own Image, the female body, and the representation of women in patriarchal culture.

In the following essay, Henry analyzes the connection between Boland's poetry collection, In a Time of Violence, and her collection of essays, An Origin Like Water, and complains that the two works repeat too many themes and are too focused on Boland herself.

In the following essay, Allen-Randolph traces Boland's career and defends her as a major poet.

In the following essay, Conboy investigates the connection between poet and place in the work of Boland and Seamus Heaney.

In the following essay, Mahon analyzes Boland's The Journey and Other Poems, considering what the volume expresses about the poet's development as an artist.

In the following essay, Belanger maintains that Boland's poem “Anorexic” “best illustrates her attempts to reinsert excluded realities of female experience into an Irish poetic tradition and to explore the implications of the allegorisation of nation as woman.”

In the following essay, Hagen and Zelman assert that Boland aims to “repossess” her place within the Irish literary tradition.

In the following essay, Raschke asserts that “Boland's Outside History and In a Time of Violence use the concrete, physical world to revise notions of what sustains, to query historiography, and to expose the dangers of mythology.”

In the following interview, Boland discusses the place of female poets in Irish literature.

In the following review, Donoghue analyzes several of Boland's poems and asserts, "Eavan Boland's best poems seem to me those in which she writes without apparent fuss or political flourish."

In the following review, Castro states that "the real beauty of reading the poems [in In a Time of Violence lies in discovering the difficulty in each and the delicacy with which Boland dismantles icons associated with Irish tradition and culture."]

In the following excerpt, Daniels finds similarities between the poetry of Boland and Medbh McGuckian and differentiates the poetry of The Lost Land from Boland's earlier poetic work.

In the following review, Allen-Randolph calls the author's Outside History "a retrospective of Boland's most mature and best work."

In the following review, Ward considers the place of The Lost Land within Boland's poetic oeuvre and deems the collection to be Boland's return to political concerns.

In the following essay, Stevenson regards Boland's encounter with the Achill woman, chronicled in her verse and her essay “Outside History,” as an important moment in her life and work.

In the following excerpt, Baker discusses Boland's "double stance" toward traditional Irish poetry.

In the following essay, Russell argues that a close reading of Boland's “Lava Cameo” “illustrates how its subject, tone, sentence structure, and diction enable Boland to imagine this scene, sympathetically write herself into it, and establish a new relationship with her grandparents and her own personal history.”

In the following review, Smith asserts that Boland's In a Time of Violence "counters any notion that poetry has retreated from the public forum or shies away from issues of great pitch and moment."

In the following review, McFall discusses what Boland's An Origin Like Water: Collected Poems (1967–1987) reveals about the poet.

In the following excerpt, Logan asserts, "For all her virtuous, even virtuoso details … too many of Ms. Boland's poems lack definition; they fade into a reverie of revered objects."