Delgado, Maria M., and Caridad Svetch, eds. Conducting a Life: Reflections on the Theatre of Maria Irene Fornes. Lyme, N.H.: Smith and Kraus, 1999. A collection of works on Fornes by those with whom she has worked in theater, those who have studied playwriting with her, and scholars and critics who have followed her career. Also included is an interview with Fornes, commenting on her life in theater since the 1960’s.
Kent, Assunta Bartolomucci. Maria Irene Fornes and Her Critics. Westport, Conn.: Greenwood Press, 1996. Kent traces Fornes’s work from the point of view of feminist criticism and explores how this criticism can and cannot be applied to her work. This book has a large section on feminist theory, as well as detailed sections on the plays and their reception, particularly Fefu and Her Friends and And What of the Night?
Moroff, Diane Lynn. Fornes: Theater in the Present Tense. Ann Arbor: University of Michigan Press, 1996. A critical analysis of four of Fornes’s plays: Fefu and Her Friends, Mud, Sarita, and The Conduct of Life. Also contains chronologies of selected productions of plays, publications, and honors and awards that Fornes has received.
Porterfield, Sally. “Black Cats and Green Trees: The Art of Maria Irene Fornes.” Modern Drama 43 (Summer, 2000): 204-212. Porterfield talks with the playwright and looks at some plays, trying to understand the “universe of Fornes’s artistic imagination.”
Robinson, Marc, ed. The Theater of Maria Irene Fornes. Baltimore: The Johns Hopkins University Press, 1999. A useful collection of critical essays on Fornes’s plays, reviews and essays on performances of those plays, and a selection of Fornes’s own writing on her work. Contains photographs of productions of fifteen of the plays.
Robinson, Marc. The Other American Drama. Baltimore, Md.: The Johns Hopkins University Press, 1994. Robinson places Fornes in a new genealogy of American drama, which regards plot as less important than other elements of the theater such as “language, gesture, and presence.” According to Robinson, Fornes’s plays have been underappreciated, and he sets out to rediscover how she uses the power of language to discover moments of individual truth.