In the following interview, Mouré discusses the Canadian content of her works, the images she employs, her love for language, and the influence of contemporary literary theory on her work.

Glickman is a Canadian poet, educator, and critic whose works include Henry Moore's Sheep, and Other Poems (1990). In the following essay, she provides an overview of Moure's work.

In the following essay, O'Brien discusses Wanted Alive, contending that it is Mouré's attempt at understanding and exploring the human heart.

York is a Canadian educator and author of The Other Side of Dailiness: Photography in the Works of Alice Munro, Timothy Findley, Michael Ondaatje, and Margaret Laurence (1988). In the following favorable review, York discusses WSW (West South West), focusing on Mouré's use of language and innovative poetic structures.

In the following generally favorable review of Furious, Carey states that Mouré's didacticism and feminist outrage occasionally detract from her evocation of the "inarticulateness of experience."

In the following positive review, Brandt discusses the language, syntax, and poetic structure of Mouré's WSW (West South West).

Marshall is a Canadian poet, novelist, literary critic, and professor whose writings include the poetry collection Playing with Fire (1984) and the novel Changelings (1991). In the following mixed review of Wanted Alive, he examines Mouré's use of language and her compassion for the human condition.

Moritz is a Canadian author, translator, film critic, and editor. Below, he favorably assesses Mouré's "sharply observed images of urban and industrial life" in Empire, York Street.

In the generally favorable review below, Diehl-Jones examines the strengths and weaknesses of Sheepish Beauty, Civilian Love.

Whiteman is a Canadian bibliographer and poet whose writings include Leonard Cohen: An Annotated Bibliography (1980) and En avoir fini avec le corps seul (1987). In the following unfavorable review, Whiteman contends that WSW (West South West) fails to include the lyrical qualities and the "public concerns of Mouré's earlier writings."

In the excerpt below, Labrie dismisses many of the poems in Furious as overburdened by Mouré's theoretical considerations, but suggests that a few "certainly repay attention."