American Literature reviews Afterlives: "The implications of mourning and of science have been kept separate in scholarship on Walt Whitman’s oeuvre; Tuggle demonstrates that they are, in fact, inextricably intertwined. Attending to the nuanced meaning of specimen (a word etymologically grounded in voyeurism), she establishes Whitman’s role in shifting cultural understandings of the body in the long shadow of the Civil War. She argues that for Whitman the specimen inhabits 'the threshold between scientific exploration and melancholic attachment,' bridging the intimacy of melancholia with the anonymity of mass carnage."  ~ American Literature, Vol.90, No. 3, September 2018.

“Tuggle thoughtfully analyzes Whitman's experience of mourning, in which melancholia, nostalgia and the poet's physical decline were entwined. With regard to Whitman's 'specimen soldiers,' she writes that 'as symbols of embodied mourning, Whitman's specimens conjure psychic and physical attachments that were, melancholically, impossible to sever.” ~ David S. Reynolds, The New York Review of Books

Goodreads (average 4.25/5):  "I did not know a lot about Walt Whitman but I found this book fascinating. It combines American history, Civil War history and the history of medicine into one subject – dead bodies and what their specimens can do. . . .[A] well written and a very interesting take on history --- great for any book club or history buff."

"This is an interesting study of a familiar literary body in light of rapid changes to science and science's public reputation, playing out in the life of someone seemingly dissociated with it until you scratch below the surface." ~ Goodreads

Rose Lucas reviews Calenture for Plumwood Mountain: “Precariously balanced on a threshold between life and death, these poems contemplate and dive and retrieve – making them both difficult and disorienting, while also eerily beautiful and seductive. Read together, they weave a siren song of the cross currents of grief as it tugs variously toward despair and refusal, the desire to somehow redeem what is lost and the desire to embrace, to follow into death’s alien fields. These are important poems which enact what poetry at its best is sometimes able to do: to enable a reader to make greater sense of life’s most difficult and otherwise unmanageable experiences.” 

The New York Review of Books reviews The Afterlives of Specimens. Davis S. Reynolds writes: "The preservation, exhumation, and exhibition of human remains become, in the hands of the literary critic Lindsay Tuggle, an illuminating basis for a provocative reassessment of America’s foremost poet, Walt Whitman. In The Afterlives of Specimens, Tuggle aligns Whitman’s life and work with the practice of preserving and learning from cadavers or body parts during the Civil War era. She offers new insights into Whitman’s poetics of the body, both by limning the history of body preservation and by considering his development using the work of various psychologists and literary theorists."

Oxford’s American Literary History reviews The Afterlives of Specimens. Matthew Rebhorn writes: “This lively, fascinating work mines the rich history of medical science in the nineteenth century and draws illuminating connections to one of the most vital figures of American letters. Moreover, in laying bare these connections, Tuggle’s work shows the close connection between nineteenth-century medical debates and the development of letters in the US, and should be admired as a provocation for further work illuminating this underexamined relationship. Between the surgeon’s scalpel and the writer’s pen, in short, there exists a complicated, interconnected history that The Afterlives of Specimens has done an estimable job of beginning to tell.” ~ American Literary History Online Review, Series XVI 1, 2018 (Oxford University Press ).

Autumn Royal reviews Calenture for Overland: "an elegiac exploration encompassing the violent realities/histories imposed upon non-conformist individuals and their bodies after death. This includes a return to asylums, psychiatric case histories, and the criminalisation of mental illness. Tuggle exposes and concentrates many of her poems on the political economies of death and mourning, with the elegy as a form of ‘transaction’ with loss . . . . There are multiple forms of bodies focused on throughout Calenture, including the bodies of the deceased, grieving bodies, the bodies of books bound in human skin and Tuggle’s body of poetry. Calenture strikingly entwines these bodies and allows for the insight that: ‘We are all flesh / toying architecturally with bone’. And as Tuggle stresses: ‘Every elegy needs an author. And then, an autopsy.’”

Calenture was named one of The Australian’s Books of the Year (2018), selected by poet and critic Ed Wright: “In poetry I enjoyed the cerebral playfulness of Bonnie Cassidy’s Chatelaine and Lindsay Tuggle’s gothic explorations of the cadaverous body in Calenture.” 

Louis J. Kern reviews Afterlives for The Key Reporter: "Lindsay Tuggle’s penetrating, interdisciplinary analysis has given us a powerful reading of how the profound impact of the massive mortality of internecine conflict, its horrors and irreparable loss that effectively revolutionized the rituals and practices surrounding death and the disposition of corpses. She has also provided historical links in the evolution of PTSD in relation to amputation, the most common surgical procedure in both the Civil War and America’s current serial war. This uniquely fascinating work provides a powerful re-reading of the central Whitman oeuvre and the nineteenth-century culture of death."