In the following essay, Renner interprets “The Chrysanthemums” as “informed far less by feminist sympathies than by traditional ‘masculist’ complaints.”

Below, Ditsky praises the “Lawrentian values” and interpersonal drama that Steinbeck achieves in “The Chrysanthemums.”

In the essay below, Shillinglaw asserts that “The Chrysanthemums” was heavily influenced by the Pygmalion myth as utilized by Ovid and George Bernard Shaw.

In the following essay, Busch illuminates Steinbeck's preoccupation with an idealized frontier past in both “The Chrysanthemums” and “The White Quail.”

In the following essay, Simmonds argues that Elisa Allen, contrary to popular opinion, is not a sympathetic figure.

In the following essay, Pellow calls into question the symbolic value of organic and mechanical elements in “The Chrysanthemums.”

In the following essay, Timmerman contends that “The Chrysanthemums” is a classical example of Steinbeck's favored theme of artistic repression.

In the essay that follows, Hughes identifies elements responsible for the critical success of “The Chrysanthemums,” specifically plot, characterization, symbolism, and overall objectivity.

In the following essay, McMahan identifies unfulfilled sexual desire as the source of Elisa Allen's frustration in “The Chrysanthemums.”

Here, Sweet asserts that “The Chrysanthemums” can be read as Steinbeck's response to feminism.

In the essay below, Marcus explores the sexual symbolism of “The Chrysanthemums,” concluding that Elisa Allen's frustration results from a longing for childbirth.

In the following essay, Owens correlates Elisa Allen's desire for rain with her need for personal fulfillment.

In the following excerpt, Kempton asserts that Steinbeck's “The Chrysanthemums” lacks objectivity.

In the following excerpt from an essay originally published in 1941, Beach compares “The Chrysanthemums” to the work of Anton Chekhov, calling the story's protagonist Elisa Allen “one of the most delicious characters ever transferred from life to the pages of a book.”