For a feeling of what life was like in the sixties underground rock culture, this book is hard to beat. Jenny Fabian takes you on a tour of the places to be seen, describing the sights, sounds and flavours of the era in delicious detail. She shows us the more shocking side to life in the late 60’s, with tales of orgies, lesbianism and drug abuse – each and every encounter described with an obvious lack of emotion or feeling. Her intimate role within the psychedelic scene gives her an excellent perspective from which to document the environment with detached authenticity.

Chronicling her adventures (as the fictional ‘Kate’) with various rock and pop stars of the day, Fabian leaves us guessing as to who her conquests actually were but it’s not difficult to work it out. Ben from the Satin is Pink Floyd’s Syd Barrett, Joe, the Relation bassist, is Ric Grech from Family, and Dave in Transfer Project was Andy Somer, (the Police’s Andy Summers).

Her naivety shows, a young girl of 19 lost amongst the excitement and anarchy of the era; at times it’s painful to read. Highlighting the fragility of human relationships, we get a real feeling that the 60s was nothing more than a chew-it up and spit-it-out culture, where the constantly changing trends left emotions out of the equation and significant others were replaced as soon as something better came along.

Since writing Groupie, Fabian has written articles for Harpers and Queen, Tatler, and Time Out, as well as a second novel, ‘A Chemical Romance’. Now married with two children, it’s rumoured that she is collaborating once more with Johnny Byrne on a third novel.

In the introduction to the 1997 reprint, Jonathon Green reveals that it gets 22 mentions in the Oxford English Dictionary, not bad for a girl written off as superficial and shallow!

The plot centres around five main characters. Famous film star Lili is trying to trace her birth mother and knows that a mysterious benefactor sent money to her adoptive parents to pay for her upkeep – her mission is to find out who that was. The story jumps back to 1960, where we meet four schoolfriends, Pagan, Kate, Judy and Maxine. The girls are close and we follow them as they progress through school and blossom into beautiful young ladies. Each girl begins an illicit romance and eventually, one of the girls becomes pregnant. The baby is named Elizabeth Lace and put up for adoption – the mothers name listed as ‘Lucinda Lace’ – but who is the mysterious Lucinda Lace?

As the lives of the four girls’ progresses, each one of them maintaining a fabulously successful career, they receive news that the baby has died. The years of lies, resentment and shame cause them to fight and they each go their separate ways. Lili in the meantime is determined to find her mother, the woman who abandoned her and left her to suffer – she will stop at nothing until she uncovers the truth.

Eventually, the four women are summoned to New York, where Lili asks “Which one of you bitches is my mother?” It’s a spellbinding end to the novel, which will leave you gagging for more. Luckily Conran agreed and Lace 2 followed with the explosive revelation of the true identity of Lili’s parents.

For the perfect holiday novel, you can’t go wrong.

Born Steven T. Murray in Berkeley, California, he uses the pseudonym Reg Keeland for translations into UK English. Brilliantly translating from Swedish, Dutch, Norwegian and German, Keeland won the Golden Dagger Award in the UK in 2001 for his translation of Swedish crime writer Henning Mankell’s novel, Sidetracked.

Keeland received the UK’s Galaxy British Book Awards ‘Books Direct Crime Thriller of the Year’ in 2009, ITV3’s ‘International Author of the Year Award, UK’ in 2008, and the Exclusive Books Boeke Prize in South Africa in 2008 for his translation of Stieg Larsson’s The Girl with the Dragon Tattoo. Amongst many other works, he has also notably translated the Swedish author Karin Alvtegen’s three psychological thrillers, Missing, Betrayal and Shame. His translation into English of Stieg Larsson’s much-anticipated second Millennium novel, The Girl Who Played with Fire, was published to critical acclaim in July 2009. His translation of the third novel, The Girl Who Kicked the Hornets’ Nest, will be released in English in October 2009.

Keeland is also working on translating another Henning Mankell thriller, Son of the Wind, due to be published in English in 2012, amongst several other works by German and Swedish authors for release in 2009 and 2010.

Slaughter has a knack for making the implausible seem rivetingly plausible. Her Grant County series, featuring paediatrician-coroner Dr Sara Linton, are riveting who-dunnits, fusing precise forensic science with a wildly inventive speculative imagination, which unerringly culminates in superbly chilling crime fiction.

Karin Slaughter’s burgeoning imagination has also created another compelling character, Will Trent, who made his first appearance in her novel Triptych published in 2006.  Despite his dyslexia and abusive childhood history, Trent has become the Georgia Bureau of Investigation’s most intelligently intuitive crime-solving officer. Ashamed of his literacy problem, he is movingly blind to his genius as a detective. In her latest work, entitled Genesis and published in July 2009, Karin Slaughter brings the flawed  and wounded heroes, Will Trent and Sara Linton, together in a desperate and heart-stopping effort to solve a grisly murder.

Slaughter’s main characters are hurt, betrayed and even self-destructive human beings who even so display an inspiring commitment to truth and justice.

An author who has produced fifteen novels in seventeen years, Picoult writes about exceptional subjects in a way that touches us all. Her capacity to evoke powerful identifications with the dilemmas and issues of her stories, if not the individual characters, show her as a novelist who can speak to everyman, from postal worker to high court judge, bus-driver to billionaire banker.

Picoult’s debut novel Songs of the Humpback Whale uses marine biology to render a profoundly human tale in which sudden loss brings new understanding and love. None of us are free from contingency, from the unexpected and unbidden. An oceanographer is forced to use his intuitive knowledge of tracking whales to re-find his abruptly departed wife and daughter, realising that he must, as with whales, try to imagine the world (and himself) through his wife’s eyes.

Her most recently published novel, Handle with Care, seems to deal with a rare infantile illness which will inevitably result in a future of broken bones and physical agony, but it also powerfully addresses us all with a fateful question: what would we do?  Would we risk poisoning our deepest friendship in order to secure legal compensation? Would we have terminated the pregnancy if we’d known? Picoult uses the extraordinary to confront us ordinary people with profound ethical issues we might otherwise ignore.

It is, of course, not just the comically (and movingly) fraught scenarios, the ups and owns of adolescent romances, but Georgia’s unique thought processes that beguile and uplift you. Based on the author at the age of 14, Georgia is not an angel – she is prone to be self-obsessed, even a little stupid on occasions – but is fundamentally a good-hearted youngster who tries to make the right decisions.

Another of those rare authors who seem to write for teenagers but who are eagerly read by adults, too, Louise Rennison combines a light-hearted wisdom about adolescent turmoil with a simply fabulous sense of humour. These books make you laugh out loud and have you holding your breath in anticipation about how the next awkward dilemma will be survived.

Louise Rennison graduated from Brighton University and by the 1980s was touring the comedy circuit in the UK with her show Stevie Wonder Touched My Face. The show revealed Louise’s shining comedic talent. The first and second novels in the nine-book (and counting) Confessions series, Angus, Thongs and Full-Frontal Snogging and It’s OK, I’m Wearing Really Big Trousers was made into a successful comedy movie (Angus Thongs and Full-Frontal Snogging) in 2008.

Brown has come in for some criticism, notably from the Catholic Church and some Christian groups: feathers were ruffled by his depiction of the Catholic organisation Opus Die in The Da Vinci Code as a sinister underground organisation full of secrets, riddles and even ruthless assassins, bent on preventing scandalous ancient truths becoming public.

Perhaps the most important point to remember is that no one reads a Dan Brown novel for religious enlightenment, or even for literary finesse: he is a story-teller extraordinaire, with a fantastic talent for keeping you frenetically turning his pages until the book is finished. Fascinated by cryptology (the art of concealing secret messages in symbols), Brown places this subject at the heart of his Robert Langdon novels, the fictional Professor of Symbology from Harvard University. The stories offer compellingly enigmatic examples of covert ingenuity and coded concealment, whilst yielding abundant edge-of-the-seat, heart-pounding thrills along the way. Brown’s novels are lengthy, but his prose style is addictive: he writes in short bursts, a technique that keeps you compulsively glued to the text.

The success of Da Vinci boosted the sales of Brown’s earlier works, including Digital Fortress and the first Robert Langdon novel, Angels and Demons. The third Robert Langdon novel, The Lost Symbol, is reportedly due for release in September 2009; set in Washington DC, it apparently features the byzantine secrecy of the Freemasons.

Stephanie Meyer dreamt of a teenage girl who became the focus of a vampire’s romantic longing – even though he also longed for her blood. The tension between the vampire’s two appetites – for love and for destruction – haunts the novel compellingly. Whilst it is a rattling good read and is almost impossible to put down once you start reading, Ms Meyer drew from numerous literary works for inspiration, including Jane Austen’s Pride and Prejudice for the first novel in the three-book series; Shakespeare’s Romeo and Juliet for the second (New Moon), and Bronte’s Wuthering Heights for the third (Eclipse).

The stories bring to the fore the often impossible contradictions love seeks to navigate – between good and evil, the permissible and the forbidden, the safe and the dangerous – and it may be that in narrating these irreconcilable tensions, the novels touch all of us who sense them at work in out own loves and life paths. That they have sold in their millions suggests a universal appeal.

In writing novels for teenagers, which can be (and are) read avidly by adults, Ms Meyer’s extraordinary literary talents and excellent story-telling powers are a dark delight. A graphic novel of Twilight is about to be published.

For those who are becoming sceptical about the latest media frenzy about health, Ben Goldacre is the perfect antidote. His book Bad Science, published in 2008, is an extended and revised compilation of the weekly columns he writes for The Guardian newspaper, in which he insists on using sound, scientific fact to debunk and refute spurious claims and unnecessary panic. In these articles you will find Goldacre’s forensic analysis of the distorting effects on real science of consumer product marketing, the pharmaceutical industry’s often far too cosy relationship with some prominent medical journalists,  and of pseudo-science and plain quackery masquerading as fact. With the satirical astringency of a radical pamphleteer, he famously exposed the scientific limitations of a certain celebrity ‘health expert’ by obtaining a ‘certified professional membership’ from the American Association she claimed membership of – for his pet cat.

Goldacre is not merely an amateur sceptic – he knows what he is talking about. Working as a junior hospital doctor in the NHS, he is also a qualified psychiatrist. Having won numerous awards for his medical journalism, Goldacre substitutes the voice of truthful reason in place of fear, inaccuracy and, on occasions, sheer falsification.

The novel vividly illustrates the contrast between objective measures of a ‘healthy economy’ and the harsh, bare privations this generic term often means for vast numbers of people. Through letters written late at night to the Premier of the People’s Republic of China on the eve of his visit to India, the novel’s main character Balram Halwai (the ‘white tiger’ of the novel’s title), describes his rise from a childhood of abject poverty to an adulthood of scheming and criminally acquired wealth. Adiga is not really condemning prosperity – he is attacking the co-existence of surreal wealth with grotesque poverty, which he feels sponsors ruthless and unprincipled individual acquisitiveness at least as much as the noble altruism and solidarity it is often sentimentally supposed to produce.

Aravind Adiga is a calm but passionately engaged voice for justice, a man who fervently believes that superb writing (like that of Flaubert, Balzac, Dickens, and, we must now add, that of Adiga) can help reform societies for the better. Aravind Adiga currently writes on a freelance basis and lives in Mumbai, India.