• 2001: Los Angeles Times Book Prize in Poetry
• 2000: The Throne of Labdacus named a "notable book of the year" by The New York Times
• 1998: American Academy of Arts and Letters Awards, Rome Prize in Literature
• 1984–1985: Amy Lowell Poetry Travelling Scholarship
• 1974 and 1975: Glascock Prize from Mount Holyoke College

Poetry Magazine

• The Boboli Gardens, Volume 124, June 1974, Page 125
• Signs, Volume 124, June 1974, Page 125
• Kandinsky's Night, Volume 124, June 1974, Page 125
• From Laughing with One Eye, Volume 132, June 1978, Page 161 [1]

Poetry Foundation

• "Angels Grieving over the Dead Christ", Poetry Foundation
• "Sonata", Poetry Foundation
• "Supernatural Love", Poetry Foundation
• "Two Tales of Clumsy", Poetry Foundation

The poetry of Gjertrud Schnackenberg has always seemed to be written white-on-black, not only because her lines have the tuned quality of work that has absorbed how sheer is the drop from white to black, from utterance to nothing, but also because the well-springs of her art seem connected at some profound level to the witnessing of light against dark or dark against light. These two factors are both the cause and the effect of the work's sustained dignity and strength [...] Schackenberg has rarely seemed in dialogue with any contemporary, and perhaps for this reason she is one of the few American poets whose voice one might recognize in a line [...] Much of her best work, even in the poems that most obviously manifest such width and perspective, is in the exquisite accuracy with which she beholds details, as if the bright child did her true apprenticeship not in the beam of the study lamp, but in the glow of the dollhouse windows.--Glyn Maxwell, The New Republic

[Schnackenberg's] poems wrestle with moral failure not in the light of philosophy but in the darkness after it. - William Logan, The New Criterion

Gjertrud Schnackenberg stands out among younger American poets for her ambition, in the best sense of the word. Her verse is strong, dense and musical, anchored in the pentameter even when it veers into irregularity; behind it are formidable masters, Robert Lowell most notably, but also Yeats and Auden. Lowellian, too, is her desire to treat history as something more than a stage setting, to make it the medium of thought and feeling. --Adam Kirsch, The New York Times Book Review