In the following essay, Haberstroh evaluates the language and style of McGuckian's poems in light of specific conflicts and ambivalences encountered by the contemporary Irish woman poet.

In the following essay, Batten explores the thematic and stylistic effects of “nothingness” or “absence” in the poetry of McGuckian and Thomas Kinsella.

In the following essay, Docherty assesses McGuckian's poetry in terms of its concern with ritual, its “ idealist” subjectivity, and its links with surrealism.

In the following essay, Porter examines the similarities between McGuckian's poetics and the philosophy of Jacques Derrida, revealing the ways McGuckian evades co-opting English literary traditions as a Northern Irish woman writer.

In the following essay, O'Brien defends the obscurity of McGuckian's poetry, comparing her thematic and stylistic treatment of female sexuality and sex to other major poets of the traditional canon.

In the following essay, Daniels compares and contrasts the themes and style of Shelmalier with those of Eavan Boland's The Lost Land and Derek Mahon's The Yellow Book, delineating each poets’ relationship to the patriarchal traditions of Ireland.

In the following essay, Blakeman studies the role of metaphor and metonymy in McGuckian's poetry with respect to the theories of American linguist Roman Jakobson and French psychoanalyst Jacques Lacan on the same topics.

In the following essay, Fogarty analyzes the Irish feminist aesthetics of the poetry of Eavan Boland and McGuckian, highlighting both poets' rejection of feminist literary politics.

In the following interview, originally conducted in July 1998, McGuckian talks about her writing process, the politics of her poetry, the influence of Emily Dickinson and Seamus Heaney on her work, and her place within the Irish poetic tradition.

In the following review, Wills surveys Marconi's Cottage, situating McGuckian's achievement within the context of twentieth-century European poetry.

In the following essay, Bendall discusses the style and imagery of McGuckian's poems in relation to the subversion of phallocentric literary conventions.

In the following review, Wills evaluates the style and themes of Shelmalier.

In the following review, Matthews praises the revised edition of The Flower Master, commenting on McGuckian's literary method and the volume's content.