“I used to run with a gang; sell drugs, do bad shit. I was evil. I ended up in prison. I ain’t like that no more. I’m a different person now. I work as an investigator, getting answers for people with nowhere left to turn. Along the way, I might just earn a little redemption for the things I’ve done …”
Sixty-one year old Barry Fraser is missing and his best mate, Donnie Copeland, is out of his mind with worry. Donnie doesn’t trust the cops and turns to Kina for help. Once onboard, she uncovers conflicting versions of Barry and wonders how much Donnie really knows about his friend.
When a shocking gangland-style murder goes down the stakes are raised and all bets are off as Kina is plunged into beef that has a rank smell. Someone has a bitter score to settle and doesn’t care who gets in the way.
With her personal life spiralling out of control, cops all over her and an old criminal acquaintance on the scene needing a big favour, Kina will have to dig deep to come up with all the answers.
Laurence Moore has been writing since the 1970s. He enjoys fast-moving books with complex main characters taking the lead.
The Kina McKevie series is set in London. Hard-hitting and gritty, it features an ex-convict turned investigator, helping people who will never go to the cops.
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In the three months that have elapsed since the events in Wiping Out Guilt took place, Kina McKevie has gotten a new girlfriend and has somehow become a private investigator. She has even successfully solved several cases. The book begins when she is hired by Donnie Copeland to find his best friend, who has gone missing. She also undertakes to help out an acquaintance she met in prison, who seems to be heading back into trouble. As in the first book, Kina’s investigation takes her into the seamier parts of East London where she has to deal with druggies, teen hoodlums, pushers, and thieves.
Kina’s investigations are every bit as interesting here as they were in book 1. The plots are intricate and well thought out. Kina’s relationships—with two women—tell us a lot about Kina, some of which we really don’t want to know. It shows us her flaws, but not enough that we completely lose interest in her.
The only real flaw I found in Chasing Answers is that Kina’s first-person narrative style suggested that she was less literate than the Kina in book 1. I liked her tone in Wping Out Guilt very much; it was as if she conveyed dialogue—even inner dialogue—faithfully but didn’t resort to quite as much vernacular in her narrative or descriptions. In Chasing Answers, she has narration like this: I guessed the suits in power were happy with the shootings, stabbings, beatings and dealing because it’s going down on poor shitty estates and ain’t happening in no fancy mews or nothing. This sentence is great for conversations, but not for narration. Here’s another example. In book 1, Moore uses the vernacular word “gonna” 25 times and each time it is dialogue. In Chasing Answers, she uses it a whopping 95 times.—many of them in regular narration or description—as in the example above. In this case, I feel certain that the author gave this book one too few editorial passes. For this reason I’ am rating this book lower than the first, but not significantly lower. Still high enough for a recommendation, though.
Note: This review is included in my book The Art of the Lesbian Mystery Novel, along with information on over 930 other lesbian mysteries by over 310 authors.