Here's a page with most of Amy Welborn's writings listed and linked - outside of blogs and books.
Amy Welborn has been published in Angelus News, Commonweal, the New York Times, Dorothy Parker's Ashes, Church Life Journal, Columbia Magazine, Catholic World Report and many other places. She is a regular contributor to Living Faith.
At this link you can find those essays and reviews linked.
For example, recently in Church World Journal:
Death Comes for the Archbishop is not the only work of Cather’s to feature Catholic themes, imagery, and characters. Shadows on the Rock, published in 1931, centered on life in seventeenth-century, very Catholic Montreal. We find vivid accounts of Catholic life in the immigrants of her prairie-centered work—the French in O Pioneers and the Bohemians in My Antonia. She engages with Catholicism on a deeper level in two mid-career works, The Professor’s House and My Mortal Enemy. In addition, Cather’s final, unfinished novel, the material related to which was destroyed—along with most of her papers, at her request after her death—was set in fourteenth-century Avignon, during the period of the Avignon Papacy, with a working title of Hard Punishments.
Cather’s work, then, can and clearly has been embraced and appreciated as embodying an expression of the “Catholic Imagination.” But is it? What did Willa Cather see in Catholicism? What about it appealed to her? How did she utilize it in her fiction? And most importantly, what is missing? And does what is absent help us in that seemingly endless quest, worked over in conferences, seminars, or bars or wherever Catholic artists gather—what the “Catholic imagination” is, anyway?
