1. See an in bono treatment of the sobs in Sandra J. McEntire, “Walter Hilton and Margery Kempe: Tears and Compunction,” in Mysticism: Medieval and Modern, ed. Valerie M. Lagorio, Salzburg Studies in English Literature, 92.20 (Salzburg: Institut für Anglistik und Amerikanistik, Universität of Salzburg, 1986), 49–57; and Kathy Lavezzo, “Sobs and Sighs between Women: The Homoerotics of Compassion in The Book of Margery Kempe,” in Premodern Sexualities, ed. Louise Fradenberg and Carla Freccero (New York and London: Routledge, 1996), 175–98.
2. See, for example, Liliana Sikorska, “‘Hir Not Lettyrd’: The Use of Interjections, Pragmatic Markers and When-Clauses in The Book of Margery Kempe,” in Placing Middle English in Context, ed. Irma Taavitsainen, Terttu Nevalainen, Päivi Pahta, and Matti Rissanen (Berlin and New York: Mouton de Gruyter, 2000), 391–410; and
3. Fiona Somerset, “Excitative Speech: Theories of Emotive Response from Richard Fitzralph to Margery Kempe,” in The Vernacular Spirit: Essays on Medieval Religious Literature, ed. Renate Blumenfeld-Kosinski, Duncan Robertson, and Nancy Bradley Warren (New York, NY: Palgrave, 2002), 59–79.
4. See Carole Slade, “Alterity in Union: The Mystical Experience of Angela of Foligno and Margery Kempe,” Religion and Literature 23 (Autumn, 1991): 109–26.
5. For a thoughtful examination of the white clothes, see Gunnel Cleve, “Semantic Dimensions in Margery Kempe’s ‘Whyght Clothys,’” Mystics Quarterly 12 (1986): 162–70; and