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Against this backdrop, Shehana herself, a Londoner with Bangladeshi family ties, rallies against the fast-approaching marriage that her family feel is so timely but that represent a very real blockade to the future she herself aspires towards and her desire to enter higher education.

Race assumptions are constantly subverted and just what it means to belong to a particular group and to identify ourselves within a specific set of cultural and social ideologies is probed incisively with by Johnson. This is a gripping thriller, with rich writing that envelops and engages from start to finish and that reveals the dehumanising influences of viewing the body as object, distinct from mind and personality. In parts dark, in parts disturbing, this is a smart and sassy novel with a strongly defined sense of pace and of purpose. A relevant and resonant novel that is well worthy of promotion.

So begins a desperate plight to escape pursuers, to find sanctuary to seek assistance where available, but to be aware of the position and danger such a trust necessarily places himself and Ninian within.

Jauncey’s ending to the novel leaves the swathes of problems over the nature of land-ownership and possession open and poses the chilling question as to whether we are in fact now fighting for the political and philosophical space of childhood itself…

“Facts are everywhere – the only way not to find them would be to walk around with your eyes and ears shut.”

Opening with the cataclysmic change for brothers Joshua and Jamie as newborn step-sister Jennie is brought into the world, “Cat Call” expertly contrasts knowledge and understanding against fears and doubt. Stepping beyond mere sibling rivalry, childhood neurosis is depicted here with an astute accuracy, but also with compassion and perception.

Overt didacticism is skilfully avoided as through Joshua’s often laconic narration, Newbery carefully negotiates the feelings of brother Jamie, his jealousy of his sister and the manifestation this takes as he becomes horrified by the force and intensity of these internalised feelings.

An impressive depth of knowledge is presented into all things feline – from factual information to mythology. The tectonics of familial relationships and alliances are related with extraordinary power and prowess. The success of “Cat Call” is the genuine credence it affords to insecurity and its lithe ability in so doing to avoid the slightest patronising hue.

“Maybe it was churlish, but I said it anyway. ‘Well done. The scientific colossus, bestriding the world.’ It gives me the creeps now, thinking about that. I had no idea what I was saying.’”

Recently given the distinction of being the only writer to win the Bisto award four times, it’s high time that Kate Thompson’s superbly pithy novels received the recognition they deserve. The publication of “The New Policeman” in 2005 finally saw this happen.

Open the pages of Kate’s latest novel, “The Fourth Horseman” and readers will find themselves gripped and fully immersed in an intense thriller in which questions and intrigue abound. Opening dramatically as Laurie is arrested for setting fire to her father’s research lab, it fast becomes apparent that she is no pyromaniac, a question mark arises as to her motives…

Combining multiple narrative strands that interlink to provide an impressive outlook over genetic manipulation and gene warfare, terrorism and more genial cricket matches, “The Fourth Horseman” provides a sobering account of the ways trust and knowledge are able to be appropriated.

A pioneering scientist, Laurie’s father has been commissioned to genetically develop a virus that will wipe out grey squirrels allowing red squirrels greater opportunities to survive and thrive. Hardly a naturalist, Laurie’s father employs his daughter to look after and to tame the baby squirrels he uses as his test-pieces. Whilst engaged upon this new occupation, an apparition of a horseman appears. Forming an alliance with her brother Alex and his best-friend Javed, the three set about exploring the true nature of the horseman in so doing uncovering a sinister stratagem for the use of the learning Laurie’s father has completed.

At once a chilling glimpse at a possible cause of the apocalypse and a passionately urgent plea for reconciliation and peace rather than revenge. “The Fourth Horseman” shows awareness of the pivotal role young people play towards such aims and the key importance of ensuring they do not inherit past generation’s conflicts…

Not Exactly Normal is a US tale for nine-year-olds and up. It’s the story about Todd Farrell who is interested in soccer, slightly confused by girls, particularly Leda from California and inspired by a Dead Poets Society style teacher at a slightly quirky school in New England.

That short précis could easily be translated to a British environment and make an equally interesting read but the style and the characters would be very different.

In Devin Brown’s story the characters are more self-conscious and dare I say it more precocious than their UK counterparts would be. Religion is firmly at the centre of community life – not a bad thing in itself – but the way moral points are made seems overtly formal even simplistic.

At an age when their sisters are entering into the weird and wonderful world of Jacqui Wilson, the families in Not Exactly Normal will seem defiantly conventional and well, normal to boys in the UK.

The core of the book is Todd’s quest to write a school report on mystical experiences – not something that features on the UK syllabus. After a poor performance in his previous project he’s determined to do better and resolves to have his own mystical experience.

He makes a lot of notes in the library, he plays a lot of soccer (sic), learns a bit about selflessness and inclusiveness and rescues his best friend from certain death in an icy river. Finally, however, he has his own mystical experience and can report back to his class.

This is a book about ideas rather than fast-paced plotting, a brave move in these days of Young Bond and Harry Potter. A cultural curiosity rather than a must read.

On opening her clarinet case Sal finds – to her disbelief – that she is the next one chosen by the lottery. Sal responds in phases, first denying the results, then feeling angered and despondent. These feelings, depicted against the backdrop of Sal’s history, the personal struggles she has contended with, isolate and bring into rapid relief the injustice she faces. As always with discrimination, this is both arbitrary and organised, coldly callous and manipulative.

Beth Goobie’s writing is incendiary. It flares and flames leaving a deep and indelible impact. It is impossible to come away unmarked…

As with several facets of the book, characters are divided into two main groupings. These are the aborigines or, to use the novel’s slang, the ‘oysters’. The second set of characters are from the new united state of Europe. Political assimilation and corruption run rife and key players in the novel whilst believing they are acting for the best are pawns in a far greater game… they are the eponymous ‘Useful Idiots’.

This book fair crackles with mystery and intrigue! Jan Mark’s narrative is amazingly confident and self assured. The story is thought-provoking and explores a large number of issues, including federalism, nationalism, various philosophies of history and of reading the texts of the present in such a way as to glean information regarding potential pasts. The academic and scientific is juxtaposed with the social and with tradition in a manner that is sensitive and which shows sense! Useful Idiots is a microcosm of life, a myriad of world views.

Jan Mark displays her usual fairly maverick (though highly adept) approach towards making young people think and towards exposing them to large, often uncertain ideas. Syntax and diction alike are fairly complex in this work and at times are highly specialised. This combined with the relative size of the novel will doubtless prohibit it from ever becoming the ‘most popular’ novel in the world. That said it is a highly engaging read and deserves to find a loyal readership.

Trademark short, well-paced chapters and the trusting narratorial voice of its protagonist Roy make this an ideal novel for boys who have perhaps not yet been introduced to the type of book that might wholly capture their minds and imaginations. Usborne should be applauded for bringing into print within the UK a stable of quality American novels for young people under their Fabulous Fiction range. Here’s hoping another Philbrick book, “The Last Book in the Universe” will find itself featured shortly…

Cyrano explains how the pair ended up in this situation. It’s the story of how Roxane was seduced by Christian’s words both written and spoken and how de Bergerac wrote those enticing entreaties to win the heart of the woman he loved for another.

Add in Cyrano’s embarrassment about his rather prominent protuberance, dashing heroism and a sneaky rival in the shape of the Comte de Guiche and all the elements are in place for a classic historical romance.

This is not a tale that has hidden its light under a bushel. Movies in the shape of Cyrano, staring Gérard Depardieu, and Roxanne, Steve Martin, have brought this story to life in traditional and updated environments.

Geraldine McCaughrean’s version is based on the original play by Edmond Rostand and opts for the traditional setting of seventeenth France. It has all the lyrical richness that the tale demands, Cyrano’s swagger is admirably conveyed, Christian is suitably eager and dumb.

The machinations of the Comte provide a darker background for some of the more pantomime moments and everything floats along effortlessly.

It is also book that opens up the debate about the merits of retelling a classic tale: is such a work more valuable than the more “full-on” challenge of inventing your own characters, setting and plot? Is it merely a buswoman’s holiday for McCaughrean?

The marketing team at Oxford University Press won’t care about such writerly concerns, however. They will simply be delighted with the January publication date.