Maxim Jakubowski
Superior storytelling and realistic characterization.
—Time Out
Mike Ripley
Top marks for pace and plot.
—Daily Telegraph- London
Frances Hegarty
So smooth you can almost kid yourself you haven't been sitting on the edge of your seat throughout.
—Mail on Sunday- London
Marcel Berlins
Zippy action, a well-crafted plot and some refreshingly gritty northern truths.
—The Times- London
Literary Review London
Busy, invigorating, high in street and every other kind of cred.
Publishers Weekly - Publisher's Weekly
After The Mermaids Singing (see Forecasts, Oct. 28), her harrowing Gold Dagger winner, McDermid returns to her Manchester PI Kate Brannigan (last seen in Clean Break) for a fast-paced joyride that swoops and curves past (or right over) villains with barely a pause. Still mourning the death of her lover, Richard, Kate is hired by two ``barely comprehensible Glaswegian musicians'' to find out who is trashing their band's reputation by sending goons to break up their shows. She hasn't time to troll Manchester's music scene before friends complicate things by dropping bombshells. First, her business partner announces he's selling his share of the shop and moving to Australia; unfortunately, Kate lacks the funds to buy him out. Then her best friend, Alexis, says that she and her pregnant lover, Christine, need help. The gynecologist who, as Alexis puts it, ``worked with us'' on the pregnancy has been murdered, and Alexis believes that if Kate doesn't steal the relevant medical files they'll lose the baby. And that's if Kate can figure out who the doctor is: Alexis knows her as Helen Maitland, but the newspapers call her Sarah Blackstone. By the time Kate figures out who stabbed the mysterious doctor, she has forgotten why she's looking. But as Kate cruises along, whether setting up a trap with her chum DCI Della Prentice or cutting a deal with the ``Godfather of Manchester'' (who has a fake Italian accent), readers will happily keep up, even if it leaves them a little breathless. (Feb.) FYI: McDermid's Gold Dagger Award- winning mystery, The Mermaids Singing, is being published in the U.S. in December by HarperCollins.
Kirkus Reviews
Kate Brannigan's partner-in-crime-solving, Bill Mortensen, has been snared by a marriage-minded Australian siren and wants to sell his share of their inquiry agency to Kate. But she can't afford it—and besides, there's no way to tell what the partnership will be worth if wisecracking Kate (Clean Break, 1995, etc.) even survives the rash of cases that await her. There's an unscrupulous pair of headstone sellers who prey on the recently bereaved, and the punk band (scruffy buddies of Kate's rock-journalist lover Richard Barclay) whose shot at basking in the bright lights of Manchester is getting sabotaged by a bunch of well-connected heavies. And then there's the murder of Dr. Sarah Blackstone, a gynecologist who promised her practice—lesbians who wanted children of their own—that she could help them conceive without involving any men. Now Blackstone's patients, desperate to hide the nature of her research, find that she was even more secretive than they were, using a false name for her consulting and pushing her fertility research into frontiers that would've given anyone in her lab a perfect motive to kill her.
Busy with comings and goings, but a bit mechanical and homogeneous, too, with a tangle of cases that tend to tap the same reliable emotions, a highly unsatisfactory climax, and not a trace of the dark brilliance of McDermid's The Mermaids Singing (p. 1498).
