Tully takes refuge with the family of her “best friend forever,” Kate Mularkey, who compares herself unfavorably with Tully, in regards to looks and charisma. Tallulah “Tully” Hart, father unknown, is the daughter of a hippie, Cloud, who makes only intermittent appearances in her life. Lifelong, conflicted friendship of two women is the premise of Hannah’s maudlin latest ( Magic Hour, 2006, etc.), again set in Washington State. Lacks pep, sizzle, not to mention good work ethics. Just one more sardonically-amusing-about-the-men-in-her-life female p.i. Kate also tinkers with an alibi or two, annoying the cops mightily, and ultimately solves the case with a clue from a reporter and some illegal hacking. Whodunit? A sex-spurned Jett? His bimbo secretary of his new gal-pal? His coke-sniffing producer? His ``approved'' biographer, a sensation-seeking tabloid writer? His manager, who's feathering his nest with a cut of tour memorabilia rip-offs? Kate and her computer-whiz partner check out a few databases, while Kate's rock-critic boyfriend Richard fills them in on Jett's personal history. Kate finds her, but then-after six weeks in Jett's mansion-Moira, coshed with a tenor sax, lies dead on the rehearsal studio floor. In a first outing, Kate agrees to hunt for black rock-star Jett's former partner/lyricist/soulmate Moira, who left Jett and took up heroin, prostitution, and lesbianism. McDermid (Open and Shut, Report for Murder) introduces tough- minded Manchester, England, p.i.
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