![]() Even if the ending is a little subtle and abrupt, The Dead Hour is a superlative. ![]() "About this title" may belong to another edition of this title. One need not have read the first novel (Field of Blood) to follow this one. Mina spins the complexities in the rough music of her working-class Scots, unsparing of brutal details, but unfailingly elegant in her humanity.Ĭopyright © Reed Business Information, a division of Reed Elsevier Inc. After Heather's murder, the reader writhes, not just because Paddy's in danger but because a moment of awful truth awaits her. At the heart of the plot is her decision pose as colleague Heather Allen when she makes dangerous inquiries, a choice that spells death for the real Heather, who's everything Paddy isn't: slim blonde whistle bait-and ambitious enough to steal a story from Paddy. Paddy, who shares a nickname with a career criminal wrongfully imprisoned for murder, can't tolerate injustice. Scots are deemed legally responsible at eight, but Paddy sees Callum as another victim. And she wants his help interviewing his 10-year-old cousin, Callum, who's been charged with murdering a toddler. ![]() "I knew I was lying when I made my first communion," she confesses to fiancé Sean Ogilvy the night she delivers other shockers. Patricia "Paddy" Meehan, a copygirl at Glasgow's Daily News, has struggled with issues of goodness since childhood. Beyond creating sweaty physical tension, the brilliant Mina may have invented a subgenre: moral suspense. If this novel were a movie, filmgoers would tag it the one to beat for the Oscars. ![]()
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