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“... Patience has been the matter of Annie Dillard’s writing for thirty years and more: patience and watchfulness and humility, together with a good deal of meditation (some of it conducted while crouched ‘mute as a photographic plate’, waiting for some small stalked creature to put aside its alarm and show itself on a chilly mudbank or in midgey thickets in Virginia or the Pacific Northwest) on what the watching and the waiting are good for ...”

“... it. A survey of historical mystics, examined through the lenses of writers such as Anne Carson and Annie Dillard and T.S. Eliot? Sketches of Dionysius, Bernard of Clairvaux, Christina of Markyate, Christina the Astonishing, Hadewijch of Antwerp, Mechthild of Magdeburg, Angela of Foligno, Marguerite Porete, Meister Eckhart, Henry Suso, Richard ...”

“... Anna quote a passage on the absorption of one foetal twin by the other, then adds: ‘that marvel, Annie Dillard, wrote that.’ No doubt it is very nice for Dillard to be noticed like this. But really: ‘that marvel’? What is she, his cleaner? Divisadero is the sort of book that makes you wonder what some people are ...”

“... there’s a single haloed precursor behind Beard’s abysm-haunted later work, it may be Annie Dillard, who made an indelible impression on her generation with books such as Pilgrim at Tinker Creek, Holy the Firm and Teaching a Stone to Talk, but whose reputation has fallen into decline. Dillard’s ...”

“... on such newly arrived figures on the scene as Diane Wakoski (1937-; cited here as ‘Wakowski’), Annie Dillard (1945-) and Ann Beattie (1947-). Heavy in the hand, the Companion makes for pretty light reading: Joan Didion is helpfully described as the author of ‘nonfictional works on contemporary life’; the ‘Beat movement’ as ‘a bohemian ...”