In the following essay, Sauer gauges Kaufman's development as a dramatist by the development of his skill in drawing characters.

In the following excerpted essay, Gould describes how Kaufman and Hart worked when they collaborated.

In the following essay, Mason examines Kaufman's use of fools and clowns, with particular focus on his use of the Marx Brothers in his comedies.

In the following essay, originally published in 1939, Mersand discusses Kaufman's ability to satirize American character and culture.

In the following essay, Lembke argues that Kaufman's plays offer an important survey of the American social history of his time.

In the following discussion, Sheed argues that the wit of Kaufman and Parker should not be thought of as a compensation for or expression of a psychoneurosis, but that as writers they deliberately created recognizable and marketable brands of wit.

In the following obituary, Freedley reviews Kaufman's career from his early days as a newspaperman through his collaborations with Moss Hart.

In the following preface, Shyer discusses “nonsense plays” and Kaufman's contribution to the genre.

In the following review, Nathan dismisses Fancy Meeting You Again, a play about reincarnation which Kaufman co-wrote with his wife, Leueen MacGrath.

In the following tribute, Hecht laments that by the time of Kaufman's death, the kind of irony and satire he wrote had become passé.