Agnarsóttir, Áslaug. "Gyrðir Elíasson."
Icelandic Writers (Dictionary of Literary Biography). Ed. Patrick J. Stevens. Detroit: Gale, 2004. 116-124.

On individual works:

Gula húsið (The Yellow House)
Kirsten Wolf: "Gula húsið"
World Literature Today, 76, 2002, pp. 194-195

Terje Holtet Larsen: "Den rasende og den lavmælte / The Irate and the Calm"
Nordisk litteratur 2002, pp. 54-58

Svefnhjólið (The Wheel of Sleep)
Friedhelm Rathjen: "Ein bischen Roman"
In Tintenkurs Nordwest: mit der Lesefähre durch Golfstromeuropa: Holland, England, Wales, Irland, Schottland, Dänemark, Färöer, Island. Scheeßel, Edition ReJoyce, 2006, pp. 150-151

Verena Stössinger: "Das Isländische am Isländischen: über Steinunn Sigurðardóttirs Der Zeitdieb und Gyrðir Elíassons Das Schlafrad"
In Literarische Reise um die Welt: Island. Baden: Buchhandlung Librium, 1999, pp. 22-23

Robert Zola Christensen: "Sömnhojen"
Gardar 1993, årsbok 24. Lund: Walter Ekstrand, pp. 47-48

John Erik Riley: "Gjenopplivet: irritasjon og glede, liv og död í Sövnhjulet av Gyrðir Elíasson"
Vinduet, 54, 2000, pp. 34-37

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From reviews of Gyrðir´s work:

Ástráður Eysteinsson: "Gyrðir Elíasson´s work in progress: a portrait
Nordic Literature Magazine, 1996

Childhood is a world that Gyrðir Elíasson has explored in greater depth than most other Icelandic writers. It turns out that the bridges connecting the child with the adult self are not always where we think they are; they travel elusively within us, unexpectedly inviting us to the eternal vaults of magic and anxiety, playfulness as well as isolation. As in the works by Franz Kafka, but differently, the child is intimately linked with the creative mind, or the artist, and the figure that completes the triangle is the animal. But in Elíasson´s case, the group of three should perhaps be supplemented with the ghost, a figure that guards the border between life and death, belonging to neither, and who also links the humorous with the horrible. Elíasson´s literary field abounds with eccentric characters, children, old people, animals, and ghosts, all of them belonging to cultural margins, but as such they illuminate the outlines and otherness of society.
(15)

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DV November 27th 1997
Jón Yngvi Jóhannsson: Vatnsfólkið (The Water People)

In the short story collection, Vatnsfólkið, Gyrðir Elíasson takes a bigger step towards a traditional narrative than in any of his previous books. It should however be mentioned that in spite of this there is no lack of that which has up to this point drawn readers to his work. Here one can find the world his readers know well by now, a world that is familiar without ever becoming foreseeable, a strange mixture of the known and secure and the unexpected, even uncanny. Still, there seems to be more space in this world than before and it is inhabited by more people than one is accustomed to in Elíasson´s stories. [...]
 Various threads connect these stories, both to literature by other authors and to Elíasson´s previous work. The idea in fact becomes more convincing with every new book that Elíasson´s work forms one continuos web, where various connections, both obvious and less so, link individual texts. This volume of short stories is thus a kind of a text-maze from where the reader can wander through different channels in unexpected directions.
(Translated by Kristín Viðarsdóttir)