Altieri, Charles. Self and Sensibility in Contemporary American Poetry. New York: Cambridge University Press, 1984. Contains an analysis of Goldbarth’s “Song in One Serving” as poetry that combines a sense of lyric scene, as well as self-consciousness, plus Goldbarth’s management of connections within the work.
Baker, David. Heresy and the Ideal: On Contemporary Poetry. Fayetteville: University of Arkansas Press, 2000. Chapter 3, “Culture, Inclusion, Craft: On Albert Goldbarth, Jane Kenyon, Li-Young Lee, Wayne Koestenbaum, David Wojahn, Alice Fulton,” aligns Goldbarth with this group; chapter 16, “Hieroglyphs of Erasure: Albert Goldbarth,” argues that despite the apparent packing of Goldbarth’s poetry with philosophy, information, and details, its ultimate meaning is the erasure of these items.
Barron, Jonathan N. “Albert Goldbarth.” In American Writers: A Collection of Literary Biographies— Supplement Twelve—Kathy Acker to Richard Russo, edited by Jay Parini. New York: Scribner’s, 2003. Contains a basic biography and analysis of Goldbarth’s work.
Corey, Stephen. “Typewriter and Looney-Tune Lunchbox in the Two Hands of God: Albert Goldbarth, Always Armed and at the Ready.” Georgia Review 63, no. 4 (Winter, 2009): 551. Corey praises Goldbarth’s poems, saying his ability to mix tones, subjects, and emotions is unsurpassed among modern poets.
Keller, Lynn. “The Twentieth-Century Long Poem.” In The Columbia History of American Poetry, edited by Jay Parini and Brett Miller. New York: Columbia University Press, 1993. Uses Goldbarth’s “novel/poem” Different Fleshes to exemplify the modern poet’s use of varied lyric sequences in “nonlinear explorations of imagined history” in an extended-length poem.
Logan, William. Reputations of the Tongue: On Poets and Poetry. Gainesville: University Press of Florida, 1999. Chapter 9, “Chronicle at Home and Abroad,” examines Original Light: “Many poets know one big thing, but Albert Goldbarth knows many little things.”
Vendler, Helen. Soul Says: On Recent Poetry. Cambridge, Mass.: Harvard University Press, 1995. Chapter 8, “Imagination Pressing Back: Frank Bidart, Albert Goldbarth, and Amy Clampitt,” stresses the accomplishment of the faculty of imagination in these poets, and Goldbarth’s omnivorous inclusion of history, details, and various branches of knowledge in his poetry.