Criticism

Ableman, Paul. "Unthrilling." Spectator 246, No. 7965 (7 March 1981): 24.

Describes the characters in The Fate of Mary Rose as believable, if not sufficiently developed, but argues that the novel's conclusion fails to resolve the issues Blackwood raises.

Andrew, Nigel. "A Deal of Nastiness." Listener 118, No. 3032 (8 October 1987): 25.

Praises In the Pink as well-written, enjoyable, and balanced.

Barrow, Andrew. "The Sleeping Booty." Spectator 274, No. 8699 (1 April 1995): 32-3.

Argues that The Last of the Duchess is a "deceptively simple" story told with unusual wit and black humour.

Carr, Raymond. "Up the Airy Mountain, Down the Rushy Glen…." Spectator 259, No. 8308 (10 October 1987): 34-5.

Commends Blackwood's treatment of fox hunting in In the Pink as fair and balanced despite some inaccuracies.

Craig, Patricia. "Domestic Evils." Times Literary Supplement, No. 4065 (27 February 1981): 220.

Praises The Fate of Mary Rose as an improvement on Blackwood's previous novels.

Kemp, Peter. "Wounded Children." Listener 105, No. 2707 (28 February 1981): 288.

Discusses Blackwood's style of detached writing about very emotional subjects, particularly wounded children, in The Fate of Mary Rose.

Mellors, John. "Ex-leg and Toeprints." Listener 111, No. 2841 (19 January 1984): 26.

Remarks on Good Night Sweet Ladies and states that the most memorable of the stories is the least macabre.

Mellors, John. "Ladies' Knights." Listener 112, No. 2883 (8 November 1984): 28.

Argues that Blackwood's character development in Corrigan is uneven.

A review of On the Perimeter, by Caroline Blackwood. Publishers Weekly 228, No. 10 (6 September 1985): 65.

Comments favorably on On the Perimeter.

Vaill, Amanda. "Windsor Knot." Chicago Tribune (2 April 1995): 3.

Argues that the interviews are the best part of The Last of the Duchess while Blackwood's overview of Simpson's life is the weakest.]

Waugh, Harriet. "Pitiless." Spectator 251, No. 8101 (15 October 1983): 23-4.

Describes the stories in Good Night Sweet Ladies as too sad and bleak, and argues that although Blackwood employs imagery successfully, she evinces no sympathy for her characters.