In the following essay, DeShazer analyzes four plays containing women's cancer as the primary thematic element, contending that performance theater allows for a different examination of feminist explorations of the female body.

In the following essay, Michelson assesses the value and meaning of ‘wit’ in the context of its modern and medieval meanings through his examination of Edson's Wit and, to a lesser extent, John Redford's 1530 drama The Play of Wyt and Science.

In the following essay, Vanhoutte notes that Edson uses cancer as a tool to judge how Vivian has lived her life—a stereotype to which Vanhoutte objects, arguing that such methodology maintains the misguided belief that cancer is in some way a metaphysical punishment for poor life choices.

In the following essay, Eads examines the nature of redemption and assesses the power of language as both bridge and blockade in Wit.

In the following essay, Sykes counters arguments that Wit is a rejection of Donne's theology, instead asserting that the play is about the redemptive power of God's love and the need for Vivian to overcome her fears and misconceptions about that power.

In the following essay, DeShazer uses the critical theories of writer Lynda Hart, a cancer victim in 2000, to examine the literary representations of the female body in two plays: Edson's Wit and Paula Vogel's How I Learned to Drive.

In the following essay, Lamont discusses the use of Donne's sonnets, particularly “Death Be Not Proud,” to inform the treatment of death in Wit.

In the following essay, Pressley highlights Edson's statements that Wit is likely a one-time writing effort for her, as she has no desire to continue to publish literary works.

In the following review of Edson's Wit and theater troupe De La Guarda's Villa Villa, Brustein contends that such plays have helped restore eloquence in American theater.

In the following review of Wit, Kanfer commends the power and intent of Edson's writing, but believes her inexperience as a playwright causes her to render the details of the play overly “neat.”

In the following review of Wit, Renner favorably assesses Edson's ability to realistically portray the medical establishment.

In the following review, Phillips, a medical doctor, judges Wit as “brilliant” despite its critical indictment of both the academic and medical professions.

In the following review, Wheeler praises the emotional impact of Wit, but believes that the play's conclusions inaccurately reflect Donne's religious intent due to the work's focus on the physical and secular.

In the following review of the Los Angeles production of Wit, Winer states that the play is “a little short of reaching its full potential.”

In the following review, Bregman, a medical doctor, lauds Edson for her portrayal of the intellectual frigidity often associated with academia as a result of the scholar's own failings and not the study itself.

In the following review, Simon praises the diverse subject matter presented in Wit, believing the play is a tremendous contribution by a first-time playwright.

In the following review of Wit, Gordon applauds Edson for creating a positive portrait of an empathetic and caring nurse, contrary to other negative contemporary depictions.

In the following excerpt, Wren notes the clever parallels between the institutions of academia and medicine that Edson draws in Wit.

In the following excerpt, Torrens asserts that Edson has placed John Donne's work within a proper context in her play.