In the following essay, Owens considers the role of the trickster in Vizenor's work.

In the interview below, Vizenor discusses his ideas on language, the role of storytelling in Native American culture, and the role of the trickster in Native American literature.

In the following excerpt, Velie provides an overview of Vizenor's works and argues that Vizenor's writing can be best understood through a consideration of Anishinabe beliefs, his life experiences, and the nature of the postmodern novel.

In the following essay, McNeil argues that Vizenor continues the work of the original editor of the stories—Theodore Hudon Beaulieu—by bringing them to a general readership.

In the following essay, Velie argues that Vizenor has adapted the traditional "frontier gothic" into an "Indian gothic" which portrays changes in the West from the Native American perspective.

In the following essay, Hauss discusses the role of violence and history in Darkness in Saint Louis Bearheart.

In the following essay, Ruoff discusses the major thrust of all of Vizenor's work, whether poetry, drama, or prose, as being an examination of relationships between tribal and non-tribal worlds.

In the following review, Ainsworth argues that in The People Named the Chippewa, Vizenor challenges contemporary beliefs about Native American culture

In the essay below, Keady discusses Vizenor's use of language in The Darkness in Saint Louis Bearheart, and how his technique emphasizes the importance of a strength of spirit over belief in empty words.

In the following interview, Vizenor discusses the impact of his experiences in Asia on his writing.

In the following review below, Churchill argues that when Vizenor relies on his journalistic talents, Manifest Manners provides useful insights but Vizenor's use of postmodern vernacular creates a sterile, unsuccessful work.

In the essay below, Ballinger discusses the vehicle for the "imaginative metaphor" presented in Earthdivers.

In the review below, Whitson states the two works under review expand the readers exposure to Anishinaabe culture and literature.

In the following review, Yu compares the trickster in Vizenor's Griever with the Mind Monkey in Chinese literature.

In the following review, the critic provides an overview of Vizenor's works, commenting on the author's varied forms.

In the following review of Dead Voices, Crum commends Vizenor's efforts to retell traditional Native American myths but finds the work unconvincing.

In the following review, Carlson argues that Crossbloods is an eclectic but revealing look at contemporary Native American culture.

In the following brief review, Warrior asserts that in Vizenor's novel The Heirs of Columbus, the author takes shreds of a "tragic history and claims them as property of the liberating liberal trickster."

In the his review of Griever: An American Monkey King in China, Trachtenberg states that the novel is strengthened by Vizenor's use of language.

In the review below, Roemer argues that while Manifest Manners is at times repetitive, it is nonetheless a powerful book.

In the following review, Berner states that while Vizenor makes astute points in Manifest Manners, the writing is muddled and infused with jargon.

In the following review, Mogen contends that while Dead Voices is difficult to read, it is an eloquent and original work.

In the following review, Warrior states that Shadow Distance serves as an excellent introduction to Vizenor's extensive and varied oeuvre.

In the review below, Loudon praises The People Named Chippewa as a witty and imaginative discussion of current Native American culture.

In the following review, Warrior argues that while retaining many aspects characteristic of Vizenor's previous work, Dead Voices is more mature and confident.

In the review below, Westrum remarks that Vizenor attempts to keep his readers off balance.

In the review below, the critic states that Dead Voices is a difficult but original work.