Literary Significance & Criticism
Some reviewers considered this to be a "highly suspenseful read in which surprises explode and the characters move to another level of believability." One finds that the book,"while not for the squeamish... is a tremendous read." Others, however, as also noted in reviews for later books in the series, such as Trace, considered it to be disappointing. Gail Pennington of the St Louis Post Dispatch states that "even the most ardent Cornwell fans may reluctantly realize that enthusiasm for the Scarpetta series is mainly a relic of books past."
In Blow Fly, we see a change in narrative style from the first-person narration of Kay herself to a third-person, omniscient, narrator. This device not only allows for more characters and their perspectives to come to the fore, but also marks a significant transformation in the way that the novels represent the criminal. Where previously the criminal’s mind was never made available to the reader—thus intensifying their “otherness”—the later novels allow space to explore their point of view and uncover their motivations.
This approach does, however, come in for criticism. One reviewer notes that "Blow Fly is written in 124 chapters, some as short as a few paragraphs, with close to a dozen shifting points of view. Everyone, it seems, has something to describe, and every bit of description gets equal weight, from a new outfit bought at Saks to a highly technical selection of handguns to the leisurely, sexually charged torture of a young woman. ("Every female character in "Blow Fly" is either miserable or doomed, adding weight to the frequent argument that Cornwell is not just anti-feminist, but anti-woman altogether.")
Read more about this topic: Blow Fly (novel)
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“The critic lives at second hand. He writes about. The poem, the novel, or the play must be given to him; criticism exists by the grace of other men’s genius. By virtue of style, criticism can itself become literature. But usually this occurs only when the writer is acting as critic of his own work or as outrider to his own poetics, when the criticism of Coleridge is work in progress or that of T.S. Eliot propaganda.”
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