Detective Alex Morrow Novels
Blood Salt Water
Loch Lomond is a mile deep but the woman’s body surfaced anyway. Found bludgeoned and dumped in the water, she now haunts Iain Fraser, the man who put her there. She trusted him and now that misplaced trust is gnawing through Iain’s chest. He thinks it will kill him.
Nearby Helensburgh is an idyllic Victorian town. One-time home to a quarter of all the millionaires in Britain, it is quaint, sleepy and chocolate-box pretty. But the real town is shot through with deception, lies and vested interests.
As tensions rise and the police seek a killer, the conflicts that lurk beneath Helensburgh’s calm waters threaten to explode. All Iain Fraser has to do is keep on lying.
Police detective Alex Morrow has met plenty of unsavory characters in her line of work, but arms dealer Mark Lynch ranks among the most brutal and damaged of the criminals she's known. Morrow is serving as a witness in Lynch's trial, where the case hinges on his fingerprints found on the guns he sells.
When the investigation leads to a privileged Scottish lawyer who's expecting to be assassinated after a money laundering scheme goes bad and a woman who's spying on the people who put her in jail, Morrow has her hands full and that's before she even gets to her family issues.
Gods and Beasts
A hold up in a Glasgow post office: A well dressed dotting grandfather hands his beloved grandson to a tattooed stranger, steps out of the queue and helps the robber. He seems to know that the man can't leave the post office and let him live. He stands, passive, and lets the man do what he wants.
Morrow begins the investigation with a bad feeling about it. She wants to go home. That's all she ever wants to do, to go home to her boys, but the robbery pulls her into the city and lives she could only begin to imagine.
The End of the Wasp Season
Sarah Erroll has jetlag. Lying in bed in the mid afternoon, savouring a glorious sleep in her childhood nursery, she thinks she hears a noise downstairs. But it’s a big house, an old house and floor boards snap, walls creak and sag, timbers groan. She doesn’t like it. She leaves the radio on when she’s here alone to mask the sounds but the radio is off. Then she hears a woman’s voice on the stairs.
There are two of them and they come into her room, menacing, angry, clearly not here by mistake. But she’s never seen either of them before and doesn’t know why they’re so angry.
Alex Morrow is called at her father’s funeral and ordered to the house but the officers below her are worried: strong men can’t look at what they did to Sarah Erroll. Scene of Crime officers can’t cope with what they did.
Meeting an old friend from her school days Morrow gets drawn into a world of obvious answers, but Sarah Erroll was not who she seemed to be and Morrow has to fight for the chance to investigate the many other lives of a woman no one seemed to have known.
Why I wrote Still Midnight... because I’m scared of my cousin Gerry.
Gerry’s a criminal lawyer, twelve hours younger than me and we grew up like brother and sister. He was always a ferocious wee boy. Decades of conditioning meant that when he told me to look at the real case this novel was based on I had to. I was blown away.
A violent home invasion by white thugs on an intensely Glaswegian Muslim family, right in the heart of the most aspiring, sleepy suburb in the city. I knew that a lot of Asian people Anglify their names to by-pass casual racism, but the whole story hung on that fact. Also, I was struck by the parallels between my own Irish Catholic extended family and this generation of largely assimilated Asian Brits. Like us, many of them face prejudice because of a tiny number of terrorists and a lot of people turn back to their heritage for an identity, only to find that they are very deeply British. Everyone in the book is trying to fuse conflicting identities: DI Alex Morrow came from the same idea: how does an outsider join a group like the police and make sense of that?
Writers like themes, they make us feel important, but ultimately I tried to write a thumping tale which ends with an uplifting love story, because with these big social splits, love and acceptance are the only redemption there is. I have sixty cousins and only two of them married Catholics, for the first few marrying out was a mortal crime and now it isn’t even commented upon.
Paddy Meehan Novels
The Last Breath
Paddy Meehan has it all: flash car, flat, job as Scotland's leading columnist, and giant packet of biscuits all to herself, but the groggy bliss of a Saturday night in front of the TV is shattered when the police knock politely on her door, smiling sadly when she answers it. Someone close to her has died, but she's staggered when they tell her who it is.
Terry Patterson has been found in a ditch, stripped naked and executed with a shot through his temple. He was her first ever lover and her hero, the sort of journalist she always aspired to be.
Paddy chucked him months ago but she's down on his passport as his next of kin. Not only that but he has left everything to her in his will, a house in Ayrshire, boxes of notes, a folder.
Beginning the investigation into his murder she realises all too late that if the secret he was about to expose is worth killing for then she - and the people closest to her - are in terrible danger.
The Dead Hour
Following on from The Field of Blood, the first in the Paddy Meehan series, the Dead Hour takes Paddy through the cocaine - fuelled aspirations of the nineteen eighties, through the poverty and riches of the age, in a pair of suede pixie boots and a second hand green leather jacket.
Glamour is a feature of distance. Paddy Meehan now has her dream job, as a junior reporter in The Scottish Daily News, working the night shift on the calls car. She and Billy, her driver, drift through the midnight city attending casualty wards and police stations, scavenging for stories.
Moving through the comedy scene and the upheavals in the print press, Paddy tries to carve a place for herself in a company of ner-do-wells and misanthropes without loosing her integrity entirely.
Watch out for the earth-shattering shock at the end.
The Field of Blood
The Field of Blood is the first in the Paddy Meehan series. The five books in the series fit together into a biog of Paddy as she moves through the newspaper industry during the turbulent eighties and nineties, carving a place for herself.
Set in Glasgow in 1981, a time shaped by betrayal and conflict, when hunger strikes, riots and unemployment decimated the old industrial heartlands, The Field of Blood is the first in a new crime series tracing the life and career of Paddy Meehan, through the momentous events of the nineteen eighties, nineties and beyond. Infused with Minaís unique blend of dark humour, personal insights, true crime, and the social injustices that pervade our society, this is a novel that will grip and challenging our perceptions of childhood innocence, crime and punishment, right and wrong.
The Field of Blood is named after the field that Judas Iscariot bought with the thirty pieces of silver he won by betraying Jesus. Paddy's whole career and ambitions are a betrayal of her family and everyone she loves and her independence is built on that betrayal and the dilemma all woman feel, whether to be true to themselves or those people they love.
Based on the discovered diaries of Lachlan Harriot, the husband of Dr. Susie Harriot, a prison psychologist convicted of the murder of her serial killer patient. After his beloved wife’s unexpected conviction Lachlan breaks into her office in the high attic room in their house and keeps a diary as he uncovers the truth of the wife he hardly knew.
The Garnethill Trilogy
Maureen O'Donnell, ex-psychiatric patient and all round winner-at-the-game-of-life, wakes up and knows it’s over. She doesn’t want to see Douglas anymore. After a drunken night out with her best friend she wakes up and finds him tied to a chair in her living room, his throat slit. The police suspect her and her brother, Liam, pharmacist without portfolio. Maureen has to explore the world of people who either won’t, or can’t, speak to the police to find the real killer.
Maureen is working for Glasgow Woman’s Aid, helping victims of domestic abuse get out and away. There is no succor for her though, her family are still denying her sexual abuse by her father, she is haunted by a financial legacy from Douglas and her best friend and collaborator falls out with her. A woman on GWA’s files is found murdered in London and Maureen flees south to find out what happened to her.