About Sem recreio
By Reinaldo Valinho Alvarez
“Suzana manages to send her message without going to extremes, without sentimentality. At the same time profound and extremely simple in the way they are presented to readers’ eyes, Suzana’s poems leave a bitter aftertaste, but they are not devoid of a hope which projects beyond anger, as Astrid Cabral very perspicaciously remarked.”
In: Jornal de Letras, 1983

About Sem recreio
By Antonio Alvarez
“Making her debut in 1979, with the volume Por um pouco mais, Suzana Vargas went from ‘lyrical notes without registered marks, a kind of young poet’s secret notebook’ according to Maurício Salles’ rigorous criticism, to a mature, chiseled, conscious poetry. She now brings us a ‘revealing feminine diction’, which immediately places her next to an Adélia Prado, an Olga Savary, a Lélia Coelho Frota and a Consuelo Cunha Campos, among the weightiest poetic voices of the new Brazilian poetry written by women.”
In: O Globo newspaper, 1983 

About Caderno de outono
By César Leal
“Suzana Vargas doesn’t appear to seek fame at any cost. From this point of view she reminds us of Emily Dickinson, when she wrote: ‘If fame belonged to me, I could not escape her - if she did not, the longest day would pass me on the chase, and the approbation of my dog would forsake me then. My barefoot rank is better!’ Her language cannot be judged on the basis of theoretical postulates and conventional schemes. What can be stated is that she has a new way of ‘saying’. Not a formal a priori to be applied to all poems. She is not mannerist in another’s manner or in her own. In her poetic language there is a way of saying that is applicable to each object.”
In: Diário de Pernambuco newspaper, 1997 

About Leitura: uma aprendizagem de prazer
By J. Ferreira dos Santos
“Reading is tool-work: it should be applied for its utility, for its productivity. How many teachers around Brazil know how to inventively explore a text in class? The book explains the methods for performing this task, applying them to the analysis of texts by Rubem Fonseca and Adélia Prado. Initiation to poetry is another of the work’s strong points. Practically exiled from bookshops and readers’ interest, poetry is rescued with tenderness and lucidity by Suzana Vargas, and the prejudices about hermetism and insipidness that modern verse has fallen victim to are put to rest with explanations accessible to even the most resistant readers.”
In: Jornal do Brasil, 1997