In the following essay, Lawless claims that Like Water for Chocolate can not be easily classified as simply a novel or simply a cookbook; it contains the elements of both genres. Lawless gives detailed examples of this genre blending.

In the following essay, Hoeg studies the importance of the “gringo” scientist, Dr. John Brown, in Como agua para chocolate.

In the following essay, Fernández-Levin analyzes the metaphors and symbolism found in Like Water for Chocolate and how Tita, the novel's protagonist, transforms the drudgery of the kitchen into a magical experience.

In the following essay, Zapata examines the effects of clichés and metaphors in Like Water for Chocolate

In the following essay, Bilbija compares and contrasts Esquivel's Like Water for Chocolate and Silvia Plager's Like Potatoes for Varenike.

In the following interview, which was conducted on July 25, 1993, Loewenstein and Esquivel discuss Como agua para chocolate and its impact on readers and on Esquivel herself.

In the following essay, Jaffe examines the community-like qualities of recipe sharing and the empowerment women can obtain from the kitchen.

In the following essay, Ibsen explains that Como agua para chocolate is not feminine literature as much as it is a parody of male-orientated literature.

In the following essay, Dobrian states that through the use of parody in Como agua para chocolate, Esquivel is not ridiculing romance novels, she is denouncing the male-domination in society that makes women want to read romance novels.

In the following essay, de Valdés discusses the effect of feminist imagery in both the novel and the film Como agua para chocolate.

In the following review, Britt disparages the translation of Como agua para chocolate because of numerous errors and altered text.

In the following review, Polk discusses the role of food and food preparation in Like Water for Chocolate.