Birds & Fancies is discussed as part of "The New Thing: The object lessons of recent American poetry"
by Stephen Burt in the May/June 09 Boston Review

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Elizabeth Treadwell’s is a difficult but deeply rewarding poetry. It has a precision and a tenderness all of its own.
—Nathan Thompson, Stride

Elizabeth Treadwell’s writing, in which human figures appear amidst fantastically embroidered surfaces,
demonstrates volubility, humor, and intelligence in spades. —Joyelle McSweeney, Rain Taxi

This is a feminine poetry, marvelous, tough, and unrelenting. —Maureen Thorson, Boog City

The extraordinary satisfaction in reading Treadwell is that she doesn’t finish the ends, or attempt to resolve,
knowing, perhaps, that, in the end, everything, including human attention, dissolves....Her writing is its own beam.
—Nicole Mauro, Jacket

What is strange, then, is the way Treadwell’s refusal, her backing off, functions to generate worlds whose
ambiguities and erasures function, to my reading, as fully determined. I don’t feel the labor of needing to fill
in the gaps (perhaps because Treadwell’s gaps are enormously hard to fill are, in a real sense, honest); I feel
instead the way in which those gaps speak and explain their inability to be filled. —Simon DeDeo, rhubarb is susan

If you want a feminist invention that is at once comic and confident, melodic and bizarre, affectionate and committed to
its principles—then Treadwell is the next poet for you. —Stephen Burt, The Believer