Eaton, Mark A. “Jane Hirshfield.” In Twentieth-Century American Nature Poets, edited by J. Scott Bryson and Roger Thompson. Vol. 342 in Dictionary of Literary Biography. Detroit: Gale, 2008. Examines Hirshfield’s career-long involvement with the natural world and includes discussions of poems from each volume of her work.
Elkins, Andrew. “California as the World in the Poetry of Jane Hirshfield.” In Another Place: An Ecocritical Study of Selected Western American Poets. Forth Worth: Texas Christian University Press, 2002. This work on place in literature examines how Hirshfield treats her adopted state in her poetry.
Galens, David M., ed. Poetry for Students. Vol. 16. Detroit: Gale, 2002. This volume includes three essays offering close readings of Hirshfield’s “Three Times My Life Has Opened.”
Harris, Peter. “About Jane Hirshfield: A Profile.” Ploughshares 24, no. 1 (Spring, 1998): 199-205. Particularly valuable is Harris’s study of the Zen influence in Hirshfield’s work.
Hirschfield, Jane. “A Conversation with Jane Hirschfield.” In Rattle Conversations, edited by Alan Fox. Los Angeles: Red Hen Press, 2008. In an interview first published in Rattle magazine in 2005. Hirshfield discusses why she writes and how she does it.
Hirschfield, Jane, and Meredith Monk. “Buddhism and Creativity:” A Conversation with Jane Hirschfield and Meredith Monk.” Interview by Pat Enky O’Hara. In Women Practicing Buddhism: American Experiences, edited by Peter N. Gregory and Susanne Mrozik. Boston: Wisdom, 2008. Hirshfield and Meredith Monk discuss creativity and Buddhism. Hirshfield states that she feels art arises out of a question.
Hoey, Allen. Contemporary Women Poets. Detroit: St. James Press, 1997. Hoey considers Hirshfield’s career from a variety of perspectives. Perhaps most valuable is his examination of the influence of the poet James Wright on Hirshfield’s poetry.
Ratiner, Steven. “Transcendence: Verse That Conveys the Humble Profundity of Buddhism.” Review of After. The Washington Post, August 6, 2006, p. T12. The reviewer praises Hirshfield’s work, which he says reflects a modern trend toward simpler poems. Notes that “After Long Silence” exhibits “precise vision and rigorous thought.”