In the following essay, Andrew discusses the interplay between male and female characters in Red Cavalry and argues that “an understanding of the female characters, their plot roles, the way they are depicted, and, indeed, what they symbolise, is critical in a broadly-based and systematic analysis of the world of war, revolution and violence” which constitutes the collection.

In the following essay, Schreurs analyzes intertextuality as a montage strategy in Red Cavalry, finding allusions to Russian folk epics and nineteenth-century works by Leo Tolstoy and Nikolai Gogol.

In the following essay, Kornblatt finds a number of connections between Babel and Nikolai Gogol and analyzes Red Cavalry in light of the Cossack myth.

In the following excerpt, Sicher chronicles Babel's time with Russian Cossacks in the First Cavalry in 1920, maintaining that by exploring “the conflict of Russian and Jew in the writer's identity, we … see how Babel came to form his image of the post-Revolutionary Jewish intellectual, torn between Judaism and Communism, alienated from his past and unable to come to terms with the future.”

In the following essay, Ehre categorizes the major thematic concerns of Red Cavalry and views the collection as Babel's attempt “to create an epic of a decisive historical moment.”

In the following essay, Shcheglov examines the plot, symbolism, and major themes of “My First Goose,” focusing on the “archetypal patterns,” the “literary motifs of ancient, ritualistic, and mythological origin which serve as a kind of concealed amplifier enhancing the paradigmatic effect of the story's events.”

In the following essay, Sukhikh offers a thematic and stylistic examination of Red Cavalry and chronicles the writing of the book, which he asserts happened in “three steps, over three stages of transformation of the raw material of life into a work of art.”

In the following essay, Avins elucidates the relationship between Babel's diary and the stories of Red Cavalry, and she investigates identity and the expression of kinship as key thematic concerns in the book.

In the following excerpt, Rougle provides a stylistic analysis of the stories of Red Cavalry and argues that Babel does not focus on accurate descriptions of the military and historical aspects of the Soviet-Polish War, but rather on “the effect of violence on human life, morals, and culture.”

In the following essay, Williams investigates the influence of revolutionary propaganda and language on the stories of Red Cavalry.

In the following essay, Hetenyi investigates the role of ambivalence as well as the significance of Christian mythology and biblical allusions in the stories of Red Cavalry.

In the following essay, Maguire examines Babel's use of ekphrasis, or elaborate description, in the stories of Red Cavalry.

In the following essay, Ozick investigates autobiographical aspects of the stories in Red Cavalry and elucidates the relationship between the short story collection and his 1920 Diary.

In the following essay, Brown discusses the autobiographical nature of the stories of Red Cavalry, asserting that “Babel's depiction of a Cossack Red Cavalry should be viewed not as a mere recounting of the facts of the writer's wartime experience but as an integral part of his pessimistic account of war and revolution.”

In the following essay, Danow considers the stories of Red Cavalry to be full of depictions of mindless violence coupled with futile attempts to understand such behavior.

In the following essay, Reid notes that over the years there has been little agreement on the style, themes, or genre of Red Cavalry, and examines the structure and function of the ending of the collection.

In the following essay, Tucker considers Babel's use of skaz and the oral tradition in Red Cavalry as parodic devices.

In the following essay, Lowe explores links between Red Cavalry and the Renaissance novella.

In the following essay, van der Eng examines narrative aspects of “Zamost'e,” particularly the interrelationship of the story's thematic concerns.