Betsko, Kathleen, and Rachel Koenig. "Maria Irene Fomes." In Interviews with Contemporary Women Playwrights, pp. 154-67. New York: Beech Tree Books, 1987.

Conversation in which Fomes talks about her methods of constructing and directing her plays, the "female aesthetic" in drama, and other topics.

Chaudhuri, Una. "Maria Irene Fornes." In Speaking on Stage: Interviews with Contemporary American Playwrights, ed. Philip C. Kolin and Colby H. Kullman, pp. 98-114. Tuscaloosa: University of Alabama Press, 1996.

Interview in which Fomes discusses her dramaturgy and the reception and interpretation of her works.

Gargano, Cara. "The Starfish and the Strange Attractor: Myth, Science, and Theatre as Laboratory in Maria Irene Fomes' Mud" New Theatre Quarterly XHI, No. 51 (August 1997): 214-20.

Argues that in Mud Fomes "uses the theatrical space as her laboratory—a place to explore the interface between our society's construction of the world and our evolving artistic and scientific vision."

Geis, Deborah R. "Wordscapes of the Body: Performative Language as Gestus in Maria Irene Fornes's Plays." Theatre Journal 42, No. 3 (October 1990): 291-307.

Analyzes Fomes' plays from the perspective of the "fragmentation" of signification between "the languages of the body … and the spoken language of the character."

Keyssar, Helene. "Drama and the Dialogic Imagination: The Heidi Chronicles and Fefu and Her Friends." Modern Drama XXXIV, No. 1 (March 1991): 88-106.

Investigates the collision of voices or points of view in Fefu and Her Friends. "The World that Fomes has created in Fefu," Keyssar argues, "is one in which not only Julia and Fefu herself but each of the women struggles with her own voice and brings into the conversation the diverse historical elements of her own linguistic consciousness."

Koppen, Randi. "Formalism and the Return to the Body: Stein's and Fornes's Aesthetic of Significant Form." New Literary History 28, No. 4 (Autumn 1997): 791-809.

Contends that in Fomes' work, as in Gertrude Stein's, "it is precisely the attention to and foregrounding of form which suspends one kind of viewing (abstracting, masterful) and institutes another, one which is intimate, attentive, and meditative."

Marranea, Bonnie. "The State of Grace: Maria Irene Fomes at Sixty-Two." Performing Arts Journal XIV, No. 2 (May 1992): 24-31.

Appreciation of Fomes that considers her an "un-abashed moralist" and Abingdon Square "a counter-reformation for our ideological age in which responsibility for one's actions is regarded as a hindrance to personal fulfillment."

O'Malley, Laura Donnels. "Pressing Clothes / Snapping Beans / Reading Books: Maria Irene Fornes's Women's Work." Studies in American Drama, 1945-Present 4 (1989): 103-17.

Explores the concept of "women's work" through "an analysis of ritual action" in several of Fomes' plays and the playwright's "own perspective on ritual."

Wolf, Stacy. "Re/presenting Gender, Re/presenting Violence: Feminism, Form and the Plays of Maria Irene Fornes." Theatre Studies 37 (1992): 17-31.

Argues that "in Fefu and Her Friends and The Conduct of Life, Fornes' formal devices … allow spectators to perceive the manner in which acts of violence position each character a perpetrator or victim, as empowered or disempowered, and to see how each character's relationship to violence signifies his or her power in terms of gender."

Additional coverage of Fornes' life and career is contained in the following sources published by Gale Research: Contemporary Authors, Revised Edition, Vols. 25-28; Contemporary Authors New Revision Series, Vol. 28; Contemporary Literary Criticism, Vols. 39, 61; Dictionary of Literary Biography, Vol. 7; Hispanic Writers; Major 20th-century Writers.