In her study of Native literature, Penny Petrone includes Armstrong amongst a young generation of university-trained Aboriginal authors who contributed to original creative works to Canadian literature during the 1980s (138). Critical analysis of Armstrong has generally studied her poetry and, more extensively, her first novel. Petrone describes Armstrong's poetry as "direct, unequivocal, and assertive, even aggressive" (163).
In a 1989 interview with Hartmut Lutz, Armstrong relates that some feminist scholars questioned her decision to create a male protagonist for her novel Slash. She defends her choice, believing she portrayed both female strength and male development in the book. (Lutz 18). In the same interview, Armstrong notes, "I've been criticized by non-Native critics in terms of character development" (qtd in Lutz 15–16). She explains that she could not isolate the character of Slash from his community in order depict his individual nature and still compose the story for her people (Lutz 16). Armstrong argues that Slash's personal growth can be perceived through his relationships with his family and community (Lutz 16).
In her study of Slash, Manina Jones catalogues a number of critical responses to the work; she says that many academic articles relate the difficulties of readers in understanding Armstrong's novel. Jones describes Slash as a work that refuses priority to speech or writing, insisting on a hybrid status (55). Jones includes the views of other critics with her own in showing that Slash is unique in its aesthetic practice and didactic purpose. She says that Armstrong compels readers through this novel to consider her text in ways that may be unfamiliar to them. Jones suggests that an innovative critical reading approach is essential to appreciate Armstrong's work and satisfy the goals of the Okanagan Indian Curriculum Project.
Armstrong is dedicated to the advancement of literature and the arts among First Nations people and the realization and promotion of the distinct artistic forms of Aboriginal people in the international arts and literary community (Creative 126). Armstrong's insights as an educator, creative force, and activist are respected by First Nations individuals and international audiences alike.
