A motorcycle gang has abducted Anna Lee as she attempts to stop them from kidnapping a young girl. Now, imprisoned in a bare cold room with the terrified victim, Anna tries desperately to escape. In the meantime, her colleagues from the security agency are scouring London in search of her. Anna has shaken the unsteady balance of the London underworld- and things are about to turn very nasty, not to mention bloody.
A sulking grey sky hung about fifty feet over the rooftops, threatening but not yet drenching the North London street below. Anna drove slowly while she and Bernie inspected the area. 'No yellow lines,' Bernie approved, 'and no residents' permit either. That's a start.' 'What number?' Anna asked. 'Twenty-nine.' But she had to drive well past the house before she could find a space to park. They walked back slowly under the dripping lime trees, Bernie humming quietly to himself and appearing to look at nothing.
Spannender als der erste Band, viel Zeit- und Sozialkolorit. Ich mag, dass es kein unglaubwürdiges Superheldentum gibt... in der Realität kommt man wahrscheinlich auch eher durch Glück als durch Tollkühnheit davon.
The curtains were beige too and covered with emerald green triffids fighting for supremacy. 😂 hübsche Beschreibung... weiß eigentlich heutzutage noch jemand, wer oder was "Triffids" sind?
Ich bin angefixt und hechte weiter in den dritten Band!
Very grateful to have had this author, and one of the very early female detective characters, recommended. I have gotten to like many of the characters in the first two mysteries in this series (Anna Lee), and am looking forward to reading the third soon!
The potential was there for a great crime thriller, but thrills are sadly missing here. It lacks an engaging narrative and compelling characters. I won’t give the ending away but will state that it left me dissatisfied.
What irritated beyond everything else was the excessive number of adverbs. If, as the saying goes, “The road to Hell is paved with adverbs”, then that road first passes through this book.
This is worst of all in the dialogue attribution, where the author tries to use a different adverb every time a character speaks: “he said conversationally,” “she said angrily,” etc. It’s distracting to the point that come halfway through the book, I would wonder which adverb was coming up whenever a character began to speak.
A good writer should be able to *show* the characters' emotions with actions, not rely on adverbs to *tell* the reader about it.
Really expands Anna's world by telling the story from the POV of her detective colleagues as well as herself. Defeats the expectations of the genre by not having the case all tidily wrapped up at the end.