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1947 critic literar, eseist, romancier, poet literary critic, essayist, novelist, poet

Lecturi moderne, eseuri, Bucuresti, Editura Cartea Romaneasca, 1978; D.R. Popescu. Monografie critica, Bucuresti, Editura Albatros, 1983; Civilizatia romanului. Eseu despre romanul universal, Bucuresti, Editura Cartea Romaneasca, vol.I - 1983, vol. II -1991; Totdeauna toamna, roman, Bucuresti, Editura Cartea Romaneasca, 1988; Viata pe fuga, roman, Bucuresti, Editura Sirius, 1997; Invatarea lumii, poeme, Bucuresti, Editura Fundatiei Luceafarul, 1998; Platonia, roman, Bucuresti, Editura Cartea Romaneasca, 1999; Timpul celor alesi, roman, Bucuresti, Editura Univers, colectia Ithaca, 1999; Catre o cultura legala virtuala, eseuri, New York, Transnational Publishers, 2001.

Modern Readings, essays, Bucharest, Cartea Romaneasca Publishing House, 1978; D.R.Popescu. Critical monograph, Bucharest, Albatros Publishing House, 1983; The Civilization of the Novel: A History of Fiction Writing from Ramayana to Don Quixote. An essay on comparative literature, Bucharest, Cartea Romaneasca Publishing House, vol.I -1983, vol. II - 1991; Always in Autumn, novel, Bucharest, Cartea Romaneasca Publishing House, 1988; Life on the Run, novel, Bucharest, Sirius Publishing House, 1997; Apprehending the World, poetry, Bucharest, Luceafarul Foundation Publishing House, 1998; Platonia, novel, Bucharest, Cartea Romaneasca Publishing House, 1999; The Time of the Chosen, novel, Bucharest, Univers Publishing House, 1999; Toward a Cyberlegal Culture, essays, New York, Transnational Publishers, 2001

Mirela Roznoveanu aduce in literele romanesti trairi si experiente noi, ceva surprinzator si care nu s-a mai scris inca. Aduce, nu o data, amaraciunea trecutului nostru recent, dar si o privire transanta si o intransigenta morala ce tin de verticalitate si de asimilarea unui mediu profund democratic ce respinge jumatatile de masura. Pe de alta parte, romanele Mirelei Roznoveanu sunt romane adevarate, in sensul ca ofera cititorului acea lume de imposibil care il obsedeaza si pe care nu o poate trai decat prin intermediul jocului fictional. La acest "continut" incitant se adauga eleganta si rafinamentul unei scriituri atente la mixtura perceptiilor, la meandrele sensibilitatii si la complexitatea relatiilor umane. (Dan Cristea)

Mirela Roznoveanu brings to the Romanian letters surprising feelings and experiences, about which no one has written so far. She has evoked the sorrows of our recent historical past from a critical and a moral perspective, whose origin can be traced to her innate integrity. The circumstances of her present life, in the midst of a deeply democratic social environment, where people have little or no use for half measures, have also contributed to her intransigent vision. On the other hand, Mirela Roznoveanu's books are genuine novels in that her readers satisfy their craving for living in an otherwise obsessive and unattainable world by attending to the intricacies of her fictional games. Her writing adds distinction and refinement to such a problematic. Roznoveanu's prose is alive with her capacity of capturing the logic of perceptions, the fluctuations of sensibility, and the complexity of human relationships. (Dan Cristea)

Platonia este o carte foarte frumoasa. Am retrait nelinisti ale propriei mele adolescente, scaldat intr-o nostalgie de o intensitate pe care nu credeam ca o mai pot trai. Suntem persoane diferite la varste diferite, dar multi dintre noi ucid si ingroapa pe cei care au fost in trecut - de aceea este remarcabil sa citesc o carte in care nimic nu pare sa fi fost uitat. Iar cititorul se indragosteste, desigur, de Platonia. Desigur, autorul trebuie sa o omoare cata vreme mai sunt doar cateva clipe inainte de Decembrie 1989 (care ar fi eliberat-o sau nu ar fi eliberat-o pe Platonia) si acest fapt subteran mareste patosul pe masura. Am citit ca Tolstoi a fost nesigur pana aproape de final daca sa o omoare pe Anna sau nu. Sa se fi intamplat la fel cu Mirela? (Andrei Codrescu)

Platonia is a very beautiful book. I relived some of the torments of my own adolescence and bathed in the nostalgia of an intensity that seems so far away. We are truly different people at different ages, but most of us kill or bury these people - so it's remarkable to read a book where nothing seems forgotten. And the reader does, of course, fall in love with Platonia. Of course, the author had to kill her since it's only a few moments before December 1989 (which might or might not have freed her) and this subterranean fact increases the pathos measurably. I read that Tolstoy was unsure until the very end whether Anna was going to die. Perhaps Mirela too? (Andrei Codrescu)