[21] Strickland's print poems have appeared in anthologies such as Four Quartets: Poetry in the Pandemic (2020), Poetics for the More-than-Human World (2020), Devouring the Green: Fear of a Human Planet (2015), Best American Poetry (2013), Electronic Literature Collection/2 (2011), The &NOW Awards: The Best Innovative Writing (2009), The Notre Dame Review: The First Ten Years (2009), Strange attractors: poems of love and mathematics (Sarah Glaz, editor, A K Peters, Ltd. 2008), and A Sing Economy, Flim Forum Anthology 2 (2008).

For example, "Versus Vega: Precessing" by Jason Nelson (Furtherfield, 2005) incorporates elements of Strickland's work, and the JavaScript code from Sea and Spar Between was used by Mark Sample to create House of Leaves of Grass.

"[22] In electronic book review, Lai-Tse Fan explained the impact of Ringing the Changes: "Strickland continues the tradition of poetic text generation, engaging at the same with material constraints resulting from 17th century pattern-ringing.

Building on these, the poet and her team created elaborate and complex algorithms that generate the poetry woven out of textual data harvested from writings of Sha Xin Wei, Simone Weil, Hito Steyerl, and Yuk Hui among others.

Written with Python code, the work demonstrates the powerful 'poetics of juxtaposition', where the list of names of Black men and women subjected to state-sanctioned violence strongly resonates throughout the whole text.

"[23] In the same publication, Sarah Whitcomb Laiola's review stated, "The textual data feeding this algorithm and surfacing, as poetry, according to mathematical patterns address a range of topics: reflections on art and media, histories of information and its categorization, lessons in computational logic and quantum physics, discussions of technologies and textiles, and narratives of storytelling and/as human movement.

"[23] Reviewing Dragon Logic for The Common, Terese Svoboda wrote, "No poet has plumbed or plummed with her thumb so deeply into the pies (π's) of physics, math, and myth and made them interlock on the atomic level.

In a speech at the Library of Congress in 2013, Stuart Moulthrop called Sea and Spar Between, "possibly the greatest example of electronic literature yet attempted -- measured by volume, at least -- but arguably also on a scale of importance.

"[27] Michael Leong wrote, of Sea And Spar Between, "The output ... is a rich, combinatorial poem in its own right, but it also offers the productively defamiliarizing experience of reading Melville and Dickinson 'at a distance,' giving us a 'slant' perspective on two very familiar, canonical authors.

[28] Rachel Daley's review described how, "poetry as a practice is renewed as relevant, applicable, accessible, and understandable ... when it opens readers’ own mechanisms for reading language to a slightly unprecedented but shared capability.

They remain words and phonemes beholden to English syntax, yes, but they also become part of a larger natural sign system, one comprised of water currents and chreodic patterns, algorithms and data flows."

She is a point of articulation between organic and inorganic matter, and her contact with Harry Soot serves to entangle further human qualities such as frailty and emotion with the supposedly infallible electronic world.

"[35] Joseph Tabbi has written on True North, in Cognitive Fictions[36] and electronic book review: "Strickland's poetics of indirect citation, annotation, and recombination creates affinities with a distinctive (and mostly American) tradition that reaches back through Dickinson to Jonathan Edwards.

"[37] Originally written in Catalan, the detailed study Poesía Digital: Deena Larsen y Stephanie Strickland by Oreto Doménech i Masià was published in a Spanish translation by the University of Valencia in 2015.