In the following essay, Taylor discusses cultural stereotypes about women and humor, and examines the use of comic wit in Paley's fiction. Taylor contends that Paley's subversive humor—earthy, optimistic, and distinctly Jewish—serves to expose the absurdity of patriarchal society and to foster a sense of survivalism among marginalized women.

“Grace Paley,” in American Contradictions: Interviews with Nine American Writers, edited by Wolfgang Binder and Helmbrecht Breinig, Wesleyan University Press, 1995, pp. 77-100 In the following interview, Paley discusses her early life, formative influences, and the feminist and Jewish perspective in her fiction.

The following interview was conducted by three Paris Review writers. Paley discusses her early transformation as a writer, her fictional style, major influences, personal motivations, and the central themes in her work.

In the following essay, Wilde argues that Paley's fiction is neither realist nor strictly metafictional. According to Wilde, Paley's “midfictional” style embodies elements of mystery and affirmation that, while acknowledging the disorder and ambiguity of the world, reflect an approach to creativity and experience that is both vivid and adaptive.

The following interview was originally conducted in 1991, and was originally published in Broken Silences (1993), edited by Shirley M. Jordan. In the interview, Jordan and Paley discuss Paley's feelings about racial relationships, her methods for writing character and dialogue, and relationships between women.

In the following essay, Meyer examines Paley's self-conscious exploration of racism in various forms, particularly the naïve and self-righteous variety displayed by well-meaning white activists. As Meyer notes, through Faith, a white female protagonist, Paley confronts her own concerns and reservations about speaking on behalf of African Americans.

In the following essay, Aarons examines the importance of personal storytelling and oral narrative in Paley's fiction, noting its relationship to Jewish literary tradition. Aarons contends that such shared stories function as a mode of self-discovery, communal solidarity, and affirmation for Paley's characters.

In the following essay, Newman elucidates Grace Paley's anti-Vietnam politics and discusses the impact of her political views on her short fiction.

In the following negative review of Just As I Thought, Wolfe condemns Paley's “stubborn” activism as hypocritical, dishonest, and, at worst, immoral. As Wolfe concludes, “Paley’s sentimental and sanctimonious book inadvertently exposes what went wrong with the American left.”

In the following interview, Paley discusses her family and formative influences, and her career as a writer and activist.

The following interview was originally conducted with Paley in 1988, and was originally published in The Brick Reader, edited by Linda Spalding and Michael Ondaatje, 1991. In the interview Paley discusses her characters’ voices, her political interests, and the inspiration for several of her stories.

In the following essay, Taylor examines Paley's shrewd critique of male-dominated language which demeans and dismisses women. Taylor draws attention to deliberately awkward and ironic exchanges between male and female characters in Paley's fiction that illustrate the different uses and meanings of such language.

In the essay below, Pinsker evaluates the central themes and distinct style of Paley's fiction as evident in The Collected Stories.

In the following review of Just As I Thought, Leonard praises Paley's life, activism, and moral conviction.

In the following interview, Paley comments on her upbringing, her fiction, the rewards of parenthood, and the value of community participation and political action.

In the following review, Cheyette offers a positive evaluation of The Collected Stories.

In the following essay, Greiner examines the reversed chronological ordering of the companion stories “The Used-Boy Raisers” and “A Subject of Childhood.” Greiner draws attention to the motif of the Jewish Diaspora in both stories and contends that their backward ordering suggests a return to historical origins, birth, and unity.

In the following review, Randall offers a positive evaluation of Just As I Thought.

In the following excerpt, Gornick recounts her introduction to and admiration for Paley's fiction, and reviews The Collected Stories.

In the following review, Kirn comments favorably on Paley's fiction in The Collected Stories, though he notes that some of her later pieces are overly ideological.

In the following review of The Collected Stories, Eder offers a positive assessment of Paley's fiction, but notes that the collection contains several unexceptional pieces.

In the following review, Baxter offers a positive evaluation of The Collected Stories.

In the following review, Taliaferro offers praise for Later the Same Day.

In the following review of Paley's Collected Stories, Locke claims that Paley has positively altered American literature.

In the following excerpted review, Dame offers a positive assessment of Long Walks and Intimate Talks.

In the following review of Just As I Thought, Linfield commends Paley's remarkable insight, but finds the collection to be of uneven quality.

In the following review, Tompkins offers a positive assessment of The Collected Stories.

In the following review, Jacobs offers a positive assessment of Later the Same Day.

In the following review, Shaw offers a positive assessment of Paley's verse in Leaning Forward, but notes that Paley's fiction is more accomplished.