In the following essay, Jackson discusses Anderson's role in the creation of an indigenous language for American drama.

In the following essay, Orlin traces Anderson's source material for Night over Taos and defends the play against earlier criticism.

In the following essay, Buchanan accounts for Anderson's success with the form of verse tragedy on the American stage.

In the following essay, Jones examines Anderson's allusions to Shakespeare in light of his theory of drama as myth.

In the following essay, Jones examines Anderson and Harold Hickerson's play The Gods of Lightning for its portrayal of the social and political climate of the era of the Sacco and Vanzetti trial and questions the play's actual political viewpoint.

In the following essay, Hadari explains why he considers Anderson's verse theater to be, ultimately, a failure.

In the following essay, Horn discusses Anderson's life and works, commenting on what contributions he made to the American theatre from 1920 through 1950.

In the following essay, Tees finds evidence in Anderson's canon of his change from an anti-war stance to a less pacifist position later in his life.

In the following essay, Tees notes that although Anderson's characters rarely find justice within the American legal system, they do achieve poetic justice outside of it.

In the following essay, Weales examines, through a review of Dramatist in America: Letters of Maxwell Anderson, 1912-1958, the theme of compromise both in Anderson's plays and in his life as he tried to balance his literary standards with his desire for critical and popular success.