@article{severin_2020, title={Valerie Gillies: Inscriptions in the Wind}, volume={14}, ISSN={["1754-1484"]}, DOI={10.1093/cww/vpaa019}, abstractNote={Abstract}, number={2-3}, journal={CONTEMPORARY WOMENS WRITING}, author={Severin, Laura}, year={2020}, pages={220–237} }
 @article{severin_2017, title={Locating Valerie Gillies's The Cream of the Well: A critical introduction to the poems and an interview with the poet}, volume={9}, number={1}, journal={Scottish Literary Review}, author={Severin, L.}, year={2017}, pages={115–139} }
 @article{severin_2015, title={Redefining the Poet as Healer: Valerie Gillies's Collaborative Role in the Edinburgh Marie Curie Hospice Quiet Room Project}, volume={33}, ISSN={["1080-6571"]}, DOI={10.1353/lm.2015.0007}, abstractNote={This article examines the poetic contribution of Valerie Gillies, Edinburgh Makar (or poet of the city) from 2005–2008, to the Edinburgh Marie Curie Hospice Quiet Room, a new contemplation space for patients, families, and staff. In collaboration with others, Gillies created a transitional space for the Quiet Room, centered on the display of her sonnet, “A Place Apart.” This space functions to comfort visitors to the Quiet Room by relocating them in their surroundings and offering the solace provided by nature and history. With this project, her first as Edinburgh Makar, Gillies redefines the role of the poet as healer and advocates for newer forms of palliative care that focus on patients’ spiritual and emotional, as well as physical, wellbeing.}, number={1}, journal={LITERATURE AND MEDICINE}, author={Severin, Laura}, year={2015}, pages={184–201} }
 @article{severin_2010, title={Close closer closest: re-envisioning sculpture and poetry through craft}, volume={43}, number={2}, journal={Mosaic (Winnipeg, Man.)}, author={Severin, L.}, year={2010}, pages={59–78} }
 @article{severin_2008, title={Dedefining the Scottish landscape: Valerie Gillies's tweed journey}, volume={9}, number={2}, journal={Scottish Studies Review}, author={Severin, L.}, year={2008}, pages={93–107} }
 @article{severin_2006, title={Distant resonances: Contemporary Scottish women poets and African-American music}, volume={39}, number={1}, journal={Mosaic (Winnipeg, Man.)}, author={Severin, L.}, year={2006}, pages={45–59} }
 @book{severin_2004, title={Poetry off the page: Twentieth-century British women poets in performance}, ISBN={0754636682}, DOI={10.4324/9781315246628}, abstractNote={Contents: Introduction Embodiments of lust: the performances of Charlotte Mew and Anna Wickham Acting 'out': the performances of Edith Sitwell and Stevie Smith Shapeshifting: the performances of Liz Lochhead and Jackie Kay Ways forward: Jackie Kay and poetry on television Works cited Index.}, publisher={Aldershot, Hants, England; Burlington, VT: Ashgate}, author={Severin, L.}, year={2004} }
 @article{severin_2003, title={'The gilt is off the gingerbread': Stevie Smith's revisionary fairy tales}, volume={12}, ISSN={["0958-9236"]}, DOI={10.1080/0958923032000141544}, abstractNote={This paper argues that Stevie Smith's revisionary fairy tales should be read as a feminist response to the conservative rhetoric of domesticity in the 1930s and 1950s, which encouraged women to continue as traditional wives and mothers. Following in the tradition of her Victorian predecessors who used the fairy tale for social critique, Smith retold fairy tales in order to offer the women of her time period alternative life scripts. Through her adoption of the fairy tale's basic narrative patterns, represented particularly in her favourite Grimm tale ‘Hansel and Gretel,’ she figured women's flight from traditional domesticity and envisioned positive transformations of home life.}, number={3}, journal={JOURNAL OF GENDER STUDIES}, author={Severin, L}, year={2003}, month={Nov}, pages={203–214} }
 @inbook{severin_2003, title={Disinvolve, disassociate: Stevie Smith and the politics of passive experiment}, booktitle={And in our time: Vision, revision, and British writing of the 1930s}, publisher={Lewisburg, Pa.: Bucknell University Press; London: Associated University Presses}, author={Severin, L.}, year={2003}, pages={133–146} }
 @article{severin_2002, title={British women's comic fiction, 1890-1990: Not drowning, but laughing}, volume={21}, number={2}, journal={Tulsa Studies in Women's Literature}, author={Severin, L.}, year={2002}, pages={399–402} }
 @misc{severin_2002, title={Women, modernism, and British poetry, 1910-1939: Resisting femininity}, volume={21}, number={2}, journal={Tulsa Studies in Women's Literature}, author={Severin, L.}, year={2002}, pages={399–402} }
 @article{severin_1998, title={Becoming and unbecoming: Stevie Smith as a performer}, volume={18}, DOI={10.1080/10462939809366207}, abstractNote={This article examines British poet Stevie Smith's adoption of a childlike persona in her 1960's performances in the context of Victorian and modernist discourses of childhood. I argue that Smith made use of these discourses’ notion of childhood as a period of freedom in order to critique traditional notions of femininity, beginning in her poetry of the 1930's, continuing in her personal fashion text in the 1950's, and concluding in her performances of the 1960's. Through her “act” of childhood, Smith both reinserted the marginal areas of a woman's life and questioned the demarcations of femininity.}, number={1}, journal={Text and Performance Quarterly}, author={Severin, L.}, year={1998}, pages={22–36} }
 @book{severin_1997, title={Stevie Smith's resistant antics}, ISBN={0299152901}, publisher={Madison: University of Wisconsin Press}, author={Severin, L.}, year={1997} }