In the following interview conducted by Rosdeitcher, Gubar and Gilbert discuss a variety of topics such as their work, women writers, feminist criticism, their critics, and their writing partnership.

In the following essay, Caughie contrasts Gubar and Gilbert's The War of Words—which explains modernism as a male reaction against the appearance of women writers—with Michael H. Levinson's A Genealogy of Modernism: A Study of English Literary Doctrine 1908–1922.

In the following essay, Donoghue examines several feminist critics, and observes that feminist criticism is often reductionist and politically motivated. Donoghue maintains that The Norton Anthology of Literature by Women adversely affects feminist criticism because of Gubar and Gilbert's selection of works in the collection.

In the following essay, Appiah discusses the tensions and divisions among academic feminist theorists as they are reflected in Critical Conditions.

In the following interview by Shapiro, Gubar and Gilbert discuss their work together, and the strategies they used in compiling The Norton Anthology of Literature by Women.

In the following review of volumes one and two of No Man's Land—The War of the Words and Sexchanges—Herrmann argues that Gubar and Gilbert have “abandoned” the notion of the separate literary tradition for women, which they had offered in The Madwoman in the Attic, and devalue lesbian writers, especially Gertrude Stein.

In the following review, Blake examines the role of the femme fatale in Sexchanges.

In the following review, Fishburn praises Gubar and Gilbert for their explication of modernism in The War of the Words, the first volume in their No Man's Land series.

In the following essay, Dinnage agrees with Gubar and Gilbert's views regarding the frustrations of nineteenth-century women as authors, but nevertheless asserts that they “insensitively” force “nineteenth-century attitudes into twentieth-century molds.”

In the following review, Fishburn praises Sexchanges for the vastness of the authors' scholarship, and the depth and originality of their insights. Fishburn argues, however, that the book is intellectually flat.

In the following essay, Castle discusses Sexchanges, and reviews Gubar and Gilbert's argument that men's deaths have sparked women's creativity.

In the following essay, Rose praises Gubar and Gilbert's literary analyses in The Norton Anthology of Literature by Women, but is concerned about the effect of establishing a female literary canonon on future women writers.

In the following review of No Man's Land: The War of the Words, Abraham objects to Gubar and Gilbert's attempts to validate women's literature by placing it in the mainstream of twentieth-century critical categories.

In the following essay marking the twentieth anniversary of the publication of The Madwoman in the Attic, Heller reviews the history of the book's influence on students, teachers, and scholarship.

In the following review of the first volume of No Man's Land, Blake contends Gubar and Gilbert ought more strongly to have stressed their argument that patriarchal forms are not embedded in language.

In the following essay, Meyer Spacks appreciates the boldness and importance of Gubar and Gilbert's feminist readings of literature, however she argues that the dogmatism of their ideological commitment causes them to distort the literature they interpret in The Madwoman in the Attic.

In the following review of Critical Conditions, Reddy pays tribute to Gubar's pioneering feminist criticism.

In the following essay, Pettingell expresses ambivalence towards The Madwoman in the Attic, seeing it as intelligently insightful but marred by “questionable theorizing,” and “simplistic” feminist “jargon.”

In the following review of The War of Words, Sedgwick praises Gubar and Gilbert's discussion of conflicts between women, but faults the writers for apparent homophobic slips regarding men.

In the following review, Kolodny praises The Madwoman in the Attic for opening up a new way to read women writers, but regrets that the authors, despite their fine chapter on Emily Dickinson, do not distinguish between British and American conditions of authorship for women.

In the following essay, Auerbach commends Guber and Gilbert's “liberated” readings of nineteenth-century women writers in The Madwoman in the Attic.

In the following excerpt, Porter discusses The Madwoman in the Attic in an essay reviewing feminist reading strategies used to interpret Emily Dickinson's poetry.

In the following essay surveying Gubar and Gilbert's work in The Madwoman in the Attic and the three volumes of No Man's Land, Rubenstein lauds the studies, calling them a “landmark of feminist literary criticism.”

In the following excerpt, Ardis praises Letters from the Front, but objects to its scanty coverage of the Harlem Renaissance and of black writers in general.

In the following review, Mukerji discusses the theoretical propositions of volumes one and two of No Man's Land by discussing the two works in relation to Gaye Tuchman's book Edging Women Out.

In the following review, Miller contends that in The Madwoman in the Attic Gubar and Gilbert are more successful when applying their theories to certain authors, such as Charlotte Bronte, than when they critique George Eliot or Jane Austen.

In the following review of Letters from the Front, the third volume of No Man's Land, Blake commends the monumental scope of the collection.

In the following essay, Sage praises Critical Conditions and Gubar's ability to remain committed to explicating the varieties of feminist criticism which have developed since the publication of The Madwoman in the Attic.

In the following essay, Ashton argues that the feminist thesis in The Madwoman in the Attic is unconvincing.

In the following review, Juhasz discusses Letters from the Front, volume three of No Man's Land, and comments on the “constructed” nature of gender in the study of literature.

In the following essay, Turner examines the literary and social contexts of the gender conflict presented in No Man's Land: The War of the Words.

In the following review of Sexchanges, Patterson explores Gubar and Gilbert's emphasis on World War I as a cause and metaphor for the sexual struggle between men and women at the beginning of the twentieth century.

In the following essay, Heilbrun praises The Madwoman in the Attic as a major work of feminist critical theory.

In the following review, Stavney lauds Racechanges as a useful study examining the ideas of “whiteness” and “blackness” in American culture.

In the following review, Pemberton praises Gubar's Racechanges as a work which contributes to the ability to “envision a post-racist society.”

In the following review, Showalter praises the satire of Masterpiece Theatre, but finds much of it already dated.

In the following review of the three volumes of No Man's Land, Carr faults Gilbert and Gubar for reductionist and strained readings of the texts they present.

In the following review, Bergner appreciates the broad scope and ethical concern of Racechanges.

In the following review, Nelson suggests that Racechanges is weakened because its conceptualization of race is “ahistorical and transcultural.”

In the following excerpt, Boyd calls Sexchanges—volume two of No Man's Land—a better book than the series' first volume, The War of the Words; but holds that Sexchanges is still full of unexamined assumptions.

In the following excerpt, Boumelha stresses Harold Bloom's methodological influence on The Madwoman in the Attic.

In the following review, Thompson writes that Volume one of No Man's Land lacks intellectual rigor and a “solid theoretical basis.”

In the following review, Rogers lauds the seriousness of Gubar's approach to her subject in Racechanges.

In the following review, Miner praises The Madwoman in the Attic for “uncovering a discernible female imagination.”

In the following review, Bernikow admires the way Gubar and Gilbert support their arguments in The Madwoman in the Attic.