In the following essay, Hepburn discusses The Man Who Was Late within a psychoanalytic context and in relation to postmodern literary thought.

In the following interview, Begley discusses the difference between autobiography and fictionalization in his novels, lists his favorite authors and works of literature, and defends his protagonists against the charge of being unlikable and unsympathetic.

In the following essay, Alexander considers the use of irony in Begley's novels, asserting that the most sympathetic characters undergo difficult and painful experiences, but that Schmidt, Begley's least appealing character, is extremely fortunate.

In the following essay, Kellman explores the lies and pretense that Begley's protagonists use to cover their respective pasts and to rewrite their respective futures.

In the following review, Edwards discusses Begley's first three novels, asserting that About Schmidt is second in quality only to Wartime Lies.

In the following review, Filkins traces Schmidt's trials, epiphanies of thought, and subsequent redemption in Schmidt Delivered.

In the following review, Malcolm examines the nature of survival in Wartime Lies, pondering the effects on the young protagonist produced by random and indifferent deaths.

In the following interview, Begley discusses his career as a lawyer, his decision to write his first novel, and his opinions on illness and dying—further illuminating the portrayal of Toby's death in As Max Saw It.

In the following review, Annan explores overt and subtle references to such classic authors as Rainer Maria Rilke, and Marcel Proust in The Man Who Was Late, praising Begley's structure and tone, and asserting that his writing is becoming more polished.

In the following excerpt, Annan proposes that in Mistler's Exit the ennui and dispassion in the narrative voice makes readers less interested in the protagonist's impending death.

In the following review, Hines believes that although About Schmidt has an illogical and somewhat confusing ending, readers are not disappointed due to Begley's masterful storytelling.

In the following review, Kessler focuses on the psychological state of Ben, the protagonist in The Man Who Was Late, and probes Ben's relationship with Jack, the narrator.

In the following review, Jones-Davis lauds Begley's understated writing style in As Max Saw It and analyzes the dynamics of the relationships between Max, his friend Charlie, and Charlie's lover, Toby.

In the following review, Cheyette examines the protagonist's loss of identity in Wartime Lies, contending that the story is well written, but that Begley's ease with the language denotes his need to justify his own survival of the Holocaust.

In the following review, See applauds Begley's characterizations and asserts that in Schmidt Delivered readers experience conflicting feelings regarding the protagonist.

In the following review, Mars-Jones questions Begley's ability to successfully balance the dispassion of the wealthy with the façade of sophistication that the protagonist in The Man Who Was Late strives to obtain.

In the following review of About Schmidt, Prose lauds Begley's depiction of an unsympathetic and unapologetic anti-hero, holding that the author's refusal to create a likeable character is refreshing in light of the glut of contemporary novels containing congenial and sensitive protagonists.

In the following review, Duplain applauds Begley's precise descriptions of places in The Man Who Was Late.

In the following review, McAlpin provides a mixed assessment of Begley's Mistler's Exit.

In the following excerpt, Pritchard provides a positive review of Mistler's Exit, asserting that Begley incorporates strong narrative skills within a compelling tale.

In the following review, the critic argues that the narrative in Shipwreck is both “rambling” and “overworked to the point of caricature.”